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BEACON  HILL  COLLECTION 


As  Shown  in  Beacon  Hill  Galleries 

BARKER  BROS. 

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(e>i/) BEACON  HlLl. 
(3)  MT.VERNOK-(C) COTTON  HIH 


BEACON  ST. 

1  WtH.-Prescofi 

2  Jiarnson  ^ya^/  Otis 

3  David  Sears 

4  John  Thillipe 

5  "BeHjaminJiamer 

6  Dr.  John  Joy 

7  John  J{(tncoe}(_ 

8  £taf r  J/ou«« 

BELKNAP  ST. 

1  Ahalifion  Church 

2  Wm.  Lancaster 

BOWDOIN  SCi- 

1  Samuel 'Par}{7Kan 

2  %evere  Tlouse 

3  Christopher  Qore 

4  Trfer  Chaniler 

5  (?4ar/«s  "BulfiHch 

CAMBRIDGE  ST. 

Z  Jiarrisan  (iraij  Otis 

3  Uksi  Church 

4  Joseph  Coolidge 

CHARJ-ES    BT. 

1  Church 

2  Abner  Tiouse 

CHESTNUT  ST. 

1  Liytcoln  &  S-toddard 

2  "BtniamiH  Jog 

3  "Kichavd  €■  Dcrhij 

4  Jeremiah  tioi'dner 

5  Jlepzihah  Swan 

6  Charles  Taine 


MYRTLE  ST. 
1  Wmdlomer 

OLIVE  ST. 

1  David  :HumphretjS 

2  Stephen  DUg^ittsonJr. 

3  ^oscj  (ti-awi 

4  Tlarritott  QKiy  Out 

5  Jonathan  MatoK 

6  Jo/)*!  Cullender 

7  Stephtn  7{i^ginson,h: 

8  Thomas  Tcrkjns 

9  Jeremiah  Qardner 

PARK  ST. 

2  Josiah  Quincy 

3  ?«»-Jii  .S*.  Cft«»-cA 

PINCKNEY  ST. 

1  "Pov/der  dlome 

2  WaichJIouse 

3  Middleion  &  (iUpioH 

S. RUSSELL  ST. 
1  Joseph  "Dition 

TEMPLE  ST. 
1  "Bela  Clapp 

TRpMONT  ST. 
1  Tremon-f  Jiotise 
2,  Teter  Tancuil 

WALNUT  ST. 
1  Uriah  CoHing 

LOUISBURG  SGL- 
1  Jenny  iind  married 


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M^^       "^ 


The  Beacon  Hill  Collection 


The  fireplace  in  the  HARRISON  GRAY  OTIS  HOUSE  dining  room 

This  house  was  designed  by  Charles  Bulfinch  £5?  fireplace  frame  probably  carved  by  Mclntire 

Beautifully  restored  by  the  Society  for  the  Preservation  of  New  England  Antiquities 


Th 


e 


BEACON  HILL  COLLECTION 

inspired  by  the  early  Designers  ^  Craftsmen 

of  the  EIGHTEENTH  CENTURY  who  Created  (£^ 

m2idQ  f/^rn it N re  of  lasting  beauty  in  keeping 

with  the  graceful  living  of  the  times 


CHARLES     BULFINCH,    Esq. 
1763-1844 


SIXTH     FDITION 


BARKER     BROS. 

Seventh     St.,    Flower    and    Figueroa,    Los    Angeles,    California 


K.O.  4°  BEACON  STREET,  FACING  BOSTON  COMMON 
Designed  by  Charles  Bulfinch  ^  at  present  the  home  ot 
The  Women's  City  Club  of  Boston 


FO  RE WO  R  D 


"r  IS  with  pleasure  that  we  present  the  Beacon  Hill  Collec- 
tion, the  finished  product  of  a  New  Englaml  school  ot  skilled 
craftsmen  who  have  served  their  apprenticeship  in  the 
tradition  ot  an  older  day. 

Beacon  Hill  of  the  Georgian  period  represented  the  utmost  in 
simple,  dignified  and  gracious  living,  and  many  homes  are  lived 
in  today  by  descendants  of  those  illustrious  citizens  whose  names 
are  prominently  listed  on  the  pages  of  American  history. 

The  Beacon  Hill  Collection  was  inspired  by  the  beautifully 
designed  furniture  found  in  these  homes.  Many  of  the  pieces  are 
exact  copies  of  originals,  some  taken  from  carefully  measured 
drawings  of  genuine  antiques,  while  others  interpret  the  spirit  of 
these  master  styles  in  the  light  of  modern  requirements. 

We  welcome  the  opportunity  of  bringing  you  this  collection 
from  which  you  may  select  a  single  piece  at  a  time  if  you  desire 
or  any  number  of  pieces  according  to  your  individual  taste  and 
requirements. 

You  have  the  assurance  that  furniture  of  such  excellent  tradi- 
tion has  withstood  the  test  of  time  without  change  of  style.  It 
is  a  heritage  which  is  our  pleasure  to  carry  on,  believing  that  fur- 
niture when  made  by  Master  Craftsmen  and  of  lasting  beavity 
leads  to  a  finer  and  happier  liv'ing. 


J^s  ^?7ge/es,  Qalifoimia 


BARKER  BROS. 


2049997 


ONE  oj  the  MANY  CHARMING  HOUSES  on  BEACON  HILL 

Designed  by  Charles  Bulfinch  i£  once  owned  i£  lived  in 

bv  the  actor  Edwin  Booth 


The  Heritage  0/ BEACON    HILL 


foii  MORE  than  two  centuries  Beacon  Hill,  a  residential  section  in  Boston, 
has  typified  a  certain  rest  and  balance  in  the  fine  art  of  simple  and  dig- 
nified living.  The  name  originated  in  the  days  ot  the  Massachusetts 
Bay  Colony  when  early  settlers  founti  a  high  hill,  inland  a  little  from 
Boston  Harbor,  and  planted  a  beacon  there.  They  called  the  place  Beacon  Hill. 
Beacon  Hill  is  known  tar  and  wide  to-day  —  a  place  ot  high  distinction.  It  is  a 
symbol  that  stands  for  enlightenment,  toward  which  the  eyes  of  culture  turn, 
reminiscent  of  the  past  and  hopeful  of  the  future. 

A  place  becomes  famous  by  the  important  people  who  live  there.  Previous 
to  the  settlement  of  Beacon  Hill  in  i6jo,  a  first  citizen  in  Boston  was  one 
Blackstone.  Blackstone  invited  Governor  Winthrop's  colony  to  leave  the  low 
land  of  Charlestown  and  share  his  hill  and  his  good  water  in  what  is  now  known 
as  Spring  Lane.  His  generous  offer  was  too  freely  accepted,  and  his  numerous 
neighbors  infringed  on  his  privacy,  to  avoid  them  he  moved  away  in  the  general 
direction  of  Providence.  But  he  left  an  indelible  mark.  Part  of  his  farm  still 
remains  free  anci  open  —  Boston  Common. 

Other  marks  made  by  other  important  people  abound.  The  Hancock  House, 
Georgian  Colonial,  dominating  Beacon  Hill,  was  built  by  Thomas  Hancock, 
but  his  famous  nephew  John,  as  Governor  of  Massachusetts  and  first  signer  of 
the  Declaration  of  Independence,  marked  it  for  his  own.  It  was  John,  citizen  of 
Boston  and  wealthy  merchant,  who  caused  to  be  planted  the  eight  huge  English 
elms  that  line  Beacon  Street  inside  the  Common.  Prior  to  the  year  1790  do- 
mestic architecture  fortunately  followed  closely  the  teachings  of  those  master 
architects,  Robert  and  James  Adam  of  England.  However,  from  the  period  1790 
to  1 8 18  many  buildings  of  architectural  merit  were  the  result  of  designs  by 
Charles  Bulfinch,  himself  a  resident  of  Beacon  Hill,  and  the  first  profes- 
sional architect  in  New  England.  Number  40  Beacon  Street,  now  the  Women's 
City  Club,  is  attributed  to  him,  but  the  Harrison  Gray  Otis  houses,  one  on  Mt. 
Vernon  and  the  other  on  Cambridge  Street,  are  unquestionably  his.  The  latter 
is  open  to  the  public  as  a  museum  and  is  the  home  of  the  Society  for  the  Preser- 
vation of  New  England  Antiquities.  Here  the  hospitable  Otis  provided  daily 
ten  gallons  of  punch,  set  out  on  the  beautiful  stair  landing  to  be  drunk  by  his 
fellow  citizens,  or  failing  this,  to  be  allowed  to  evaporate. 


Bulfinch  was  also  our  earliest  native  architect  of  public  buildings,  and  is  best 
known  for  his  part  in  designing  the  National  Capitol  in  Washington,  and  for 
the  design  of  the  beautiful  State  Houses  of  Massachusetts  and  Maine. 

Other  marks  were  made  by  other  important  people  on  Beacon  Hill.  There 
was  John  Singleton  Copley,  our  great  pioneer  portrait  painter  and  extensive 
land  owner.  It  is  believed  that  Elihu  Yale,  of  university  fame,  was  born  here. 
Louisa  Alcott  lived  during  her  creative  years  in  Louisburg  Square.  Jenny  Lind, 
the  Swedish  nightingale,  was  married  on  Beacon  Hill.  A  parade  ot  illustrious 
people  too  numerous  to  mention  gave  romance  and  glamour  to  the  Hill,  long 
after  the  Beacon  had  passed  into  history. 

It  is  the  artist  craftsmen  who  evolved  the  furniture,  the  furnishings,  the  in- 
timate things  associated  with  the  great,  and  to  these  we  turn  with  our  home- 
making  longings.  It  has  been  said  that  Furniture  History  in  the  United  States 
begins  with  the  Englishmen  who  first  settled  here.  Trained  woodworkers  were 
soon  numbered  among  them.  The  evolution  ot  cabinetmaking  in  America  is  too 
lengthy  to  trace  here,  but  undoubtedly  much  of  the  original  furniture  in  the 
early  Beacon  Hill  settlement  was  of  local  character.  On  the  other  hand,  close 
contact  with  the  Mother  Country,  England,  for  reasons  of  kinship  and  commerce, 
accounted  for  much  of  the  furnishings  during  Colonial  days.  Styles  and 
other  luxuries  often  arrived  in  America  within  a  year  of  their  appearance  in 
London.  The  residents  of  Beacon  Hill  accumulated  wealth  rapidly,  and  it  was 
natural  that  they  should  gratify  their  taste  for  fine  furniture  and  decorations 
by  purchases  from  abroad.  In  fact,  many  homes  literally  became  storehouses 
for  treasures  gathered  from  all  parts  of  the  world  and  brought  to  Boston,  in 
some  cases,  by  the  owners'  own  ships.  Also  coastwise  shipping  brought  many 
pieces  of  furniture  from  well-known  cabinet  shops  located  in  other  colonies.  The 
local  cabinetmaker  contributed  his  share  to  Beacon  Hill,  but  it  was  not  until 
after  the  Revolution,  with  England  in  disfavor,  that  the  struggling  American 
craftsman  really  came  into  his  own.  He  had  served  a  long  apprenticeship. 

The  Federal  period  in  the  United  States  was  the  dawn  of  a  golden  era  in 
American  furniture.  Wherever  there  was  furniture  of  merit  it  found  its  way  to 
Beacon  Hill;  but  during  this  particular  period  it  would  seem  from  examples  ex- 
tant that  the  chief  contributing  shops  were  located  mostly  in  Boston  and  vicinity, 
Salem,  Newburyport,  and  Portsmouth.  There  was  John  Seymour  and  Son  ot 
Creek  Square,  Boston,  responsible  for  the  unusually  delicate  and  attractive  tam- 
bour writing  desks,  of  which  several  styles  were  made.  These  desks  are  outstand- 
ing today  in  point  of  design  and  workmanship.  Across  the  Charles  River  in 
Charlestown  we  have  the  workshops  of  Jacob  Forster  and  Benjamin  Frothing- 
ham.  In  1803  Forster  advertised  the  sale  of  1400  field  and  high  maple  bedposts. 
He  must  have  had  a  shop  of  considerable  size.  Major  Frothingham,  member  ot 
Washington's  stat^'  during  the  Revolutionary  War,  enjoyed  the  patronage  ot 
President  and  Lady  Washington.  Labels  have  been  found  on  his  furniture  with 
the  initials  of  the  engraver  N.  H.  Sc.  P.,  doubtless  those  of  Nathaniel  Hurd,  one 


of  the  first  Colonial  engravers.  There  was  SamuelMcIntire  of  Salem,  foremost 
New  England  carver,  and  Abner  Toppan  of  Newburyport,  cabinetmaker.  The 
work  of  these  and  other  prominent  craftsmen,  such  as  Wm.  Savery  of  Phila- 
delphia, Townsend  and  Goddard  of  Rhotle  Island,  and  Duncan  Phyfeof  New 
York,  is  still  to  be  found  on  Beacon  Hill. 

There  exists  in  most  of  us  a  more  or  less  indefinable  desire  to  know  more  about 
the  articles  which  filled  the  household  needs  of  our  forefathers.  This  has  been 
fully  realized  by  the  First  National  Bank  of  Boston,  for  in  one  of  a  series  of 
illustrations  of  the  work  of  early  New  England  craftsmen  they  selected  a  furni- 
ture maker's  workroom.  This  picture,  through  their  courtesy,  is  shown  on  the 
cover  of  this  book. 

The  search  for  the  antique  in  furniture  is  an  absorbing  occupation  which  waxes 
and  wanes  as  time  and  money  are  available.  Antiques  are  not  primarily  ot  value 
simply  because  they  are  old.  Even  the  values  given  by  age  are  not  of  years  only, 
but  are  due  to  the  living  character  which  years  have  afforded  them.  Furniture 
that  has  been  lived  with  acquires  an  aura  which  is  not  by  any  means  imaginary. 
On  the  other  hand,  the  good  example  newly  made  carries  with  it  all  the  value 
due  to  tradition,  and  what  it  lacks  of  long  human  association  is  frequently 
offset  by  a  qualified  adaptation  to  the  present.  The  maker  of  good  furniture  is 
both  artist  and  craftsman;  he  is  the  repository  of  good  tradition,  and  he  has  the 
skill  to  preserve  and  continue  it.  So  that  often  you  will  find  a  new  chair  beside 
an  old  one,  each  of  the  same  class  and  kind,  the  new  only  a  younger  brother  of 
the  old.  And  you  may  find  both  occupied  by  the  descendants  ot  the  original 
aristocracy  ot  Beacon  Hill. 


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Beacon  Hill  Collection 

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^^^^^^^^^^^^^^'^^^ 


A    MARK    6/  CRAFTSMANSHIP 

The  real  need  for  a  finer  type  of  reproduction  which  reflects 

the  spirit  of  early  craftsmanship  was  the  inspiration  which 

prompted  the  Beacon  Hill  Collectiofi.  *  Many  ot  the  pieces 

illustrated  are  faithjidh  reproduced  from  originals  owned  by 

prominent  families,  not  only  from  Beacon  Hill,  but  elsewhere 

in  Boston  and  New  England.  We  gratefully  acknowledge  the 

interest  and  assistance  rendered  by  those  who  have  loaned 

rare  £5?  priceless  family  heirlooms  for  reproduction  purposes. 

We  also  respect  the  wishes  of  those  who  prefer  to  remain 

anonymous  in  contributing  material  which  appears 

in  the  following  pages,  ^f  Every  effort  has  been 

made  to  reproduce  the  original  piece  with 

absolute  accuracy  of  detail  including 

hardware  and  the  soft,  mellow, 

OLD  finishes  of  the  origixal 


EACH    PIECE    FROM   THE    BEACON    HILL    COLLECTION- 
CARRIES     THE    ABOVE     MARK    OF    AUTHENTICITY 

THE  NAME  BEACON  HILL  COLLECTION  IS  REGISTERED  IN  THE  U.  S.  PAT.  OFF. 


SOCIAL  GRACE  h/rhelAVlSC,   ROOM 

(syociability  &^  '7?epartee 

with  a  background  o£ grace/'u//y  designed  Georgian  furniture 

having  the  spirit  &  mclloiv  teeling  ot 

an  older  day 


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1^ 


No.  13  BIRCHALL  —  Sheraton  Console,  from  English  design  of  the  period  1795.  Mahogany,  inlaid  with  burl  maple,  satinwood, 
and  rosewood  —  L  36,  D  13H,  H  32. 


12 


No.  17  ELLIOT -Hepplewhite  Card  Table,  from  American  design  of  the  period  1785.  Philadelphia  origin.  Mahogany,  inlaid 
with  satinwood,  pivoted  leg  —  L  34,  D  17,  H  30. 


13 


No.  20  DOROTHEA  HENRY  —  Chippendale  Mahogany  Card  Table,  from  American  design  of  the  period  1770,  Philadelphia 
origin.  Pivoted  legs  —  L33J2,  D  17,  H  28J2. 


14 


No.  1004  STEPHENS  —  Regency  Card  Table,  from  English  design  ot'  the  period  1800.     Mahogany,  inlaid  with  satinwood 
lines;    swivel  top  —  L  36,  D  18,  H  30. 


No.  711  EDGEWOOD  —  Regency  Sofa  Table,  from  English  design  of  the  period  1820.  Mahogany,  crossbanded  with 
rosewood,  two  drawers  simulated  on  reverse  side.  Drawers  and  panels  mounted  with  brass  beading  L  34)^2, 
D  26,  H  28,  leaves  down;    L  56'^  leaves  up. 


16 


No.  22  MONTAGUE  —  Sheraton  Sofa  Table,  from  English  design  of  the  period  1790.  Mahogany,  inlaid  with  satinwood,  two 
drawers  simulated  on  reverse  side  —  L  36,  D  25}^,  H  27,  leaves  down;  L  57,  leaves  up. 


17 


No.  797   BUSWhLL  — Hepplewhite  Pembroke  Table,  from  English  design  of  the  period   1780.     Mahogany,  inlaid  with 
satinwood  lines,  one  drawer;    swirl  mahogany  top  —  L  i7>^,  D  29,  H  Tjyi. 


18 


No.  190  SANDLEIGH  —  Hepplewhite  Pembroke  Table,  tVom  English  design  of  the  period   1785.    Mahogany,  inlaid  with 
tulipwood  —  L  29,  D  lo}-^,  H  28,  leaves  down;  D  38 i-^,  leaves  up. 

No.  243  ROGERS  —  Regency  Love  Seat,  from  English  design  of  the  period  1815.   Front  rail  54" 


No.  49  PARHAM  — Hepplewhite  Drop-Leaf  Pembroke  Table,  troni  English   design   of  the  period    1785.  Mahogany,  with 
figured  mahogany  top  and  drawer-front,  inlaid  with  tulipwood  —  L  I7>i,  D  20,  H  27,  leaves  down;  L  29"^,  leaves  up. 


20 


No.  385   STANIFORD  — Hepplewhite  Pembroke  Table,  from  English  design  of  the  period  1785-    Figured  mahogany  top 
and  drawer-front,  crossbanded  with  mahogany —  Lja^^,  D  18,  H  28,  leaves  down;   D  36,  leaves  up. 


21 


No.  194  AMES  —  Sheraton  Drum  Table,  from  English  design  of  the  period  1790.    Mahogany,  with  tooled  leather  top.   Two 
drawers — Dia.  36,  H  29. 

No.  7?o  KIRKLAND  —  Hepplewhite  Wing  Chair,  from  English  design  of  the  period  178";.     Tufted  back  —  W  28,  S.D  22, 
H  42>4. 


12 


No.  427  MONROE  —  Regency  Drum  Table,  from  English  design  of  the  period  1810.    Mahogany,  with  tooled  leather  top, 

two  drawers  —  Dia.  3a,  H  28'-2. 
No.  240  RAWSON  —  Sheraton  Arm  Chair,  from  English  design  of  the  period  1700.     Spring  seat.     Color  leather  optional. 


23 


No.  270  GERALD  —  Hepplewhite  Mahogany  Upholstered  Arm  Chair,  from  EngHsh  design  of  the  period  1775.  Spring  seat- 
W  23,  S.D.  20,  H  37. 


24 


No.  36  DALTON  —  Queen  Anne  Wing  Chair,  from  English  design  of  the  period  1740. 


25 


No.  768  MINOT  — Chippendale  Two-Tier  Revolving  Book  Table,  from  English  design  ot"  the  period  1770;    copper  tray 

insert  at  top  with  removable  wood  cover —  Dia.  23,  H  53. 
No.  728  LOWELL  — Hepplewhite  Wing  Chair,  from  English  design  of  the  period  1780  — W  29,  S.D  21,  H  45. 


26 


No.  361   DUITON  —  Sheraton  Mahogany  Wing  Chair,  from  English  design  of  the  period  1790.  Spring  back  and  spring  seat  - 
\V26,  S.D  2i,H40. 


No.  740  COLBY 

H  45- 


■  Sheraton  Wing  Chair.     Buttoned  barrel  back.    Also  available  with  channel  back  —  W  291^,  S.D.  24, 


28 


'■'-iffpf'" 


r. 


No.  767  SHEFFIELD  —  Sheraton  Drum  Table,  from  English  design  of  the  period  1800.    Mahogany,  inlaid  with  satinwood 
lines  and  gold  tooled  leather  top.    Two  drawers  and  lift  sides  enclosing  two  wells  —  Dia.  36,  H  29K. 


29 


No.  737   CRABTREE  —  Hepplewhite  Wing  Chair,  from  English  design  of  the  period  1785.    Tufted  back  —  W  30,  S.D  24, 
H  30. 

No.  1003  COOPER  —  F"or  description  of  table  see  page  48. 


30 


No.  729  NEWTON  — Chippendale  Wing  Chair,  from  American  design  of  the  period  1770,  New  England  origin  —  W  27, 
S.D  19K,  H  40. 


31 


No.  7^1   LONGWOOD  -  English  type  overstufFed  Side  Chair.     Tutted  spring  back  and  seat  -  W  28,  S.D.  zij^,  H  34- 
No.  647  DUNMORE  —  For  description  of  chest  see  page  85. 


32 


No.  734  PRESCOTT  —  English  Type  Club  Chair  — W  29,  S.D  iiyi,  H  34. 

No.  ^87  BURNSDALE  —  Sheraton  Mahogany  Library  Steps,  from  English  design  of  the  period  1800.    Cupboard  section 

under  second  step.     All  steps  tooled  leather,  color  optional  ^  L  16,  D  29,  H  27. 
No.  84  APPLEGATE  —  For  description  of  desk  see  page  99. 

33 


I 


No.  777  BENNINGTON  —  Chippendale  Mahogany  Pembroke  Table  from  English  design  of  the  period  1780  —  L  29^^, 
D  183^,  H  28,  leaves  down;    D  39,  leaves  up. 

No.  744  PEMBERTON  — English  Type  Overstuffed  Arm  Chair  with  buttoned  back  —  \V   28,  S.D   21,  H  31. 


34 


No.  736  PUTNAM  —  English  Type  Overstuffed  Arm  Chair,  square  tapered  legs  —  W  29,  S.D  24,  H  J2. 
No.  417  ROCKWELL  —  For  description  of  table  see  page  65. 


35 


No.  176  BAMFORD  —  Regency  Table,  tVom  English  design  of  the  period  18 10.   Mahogany,  with  ebonized  turnings  and  brass 
gallery;  one  long  drawer  —  L  27,  D  15}^,  H  25. 

No.  244  GARDNER  —  English  Type  Overstuffed  Arm  Chair. 


36 


No.  363   JOYCE  —  English  Type  Overstuffed  Arm  Chair,  with  buttoned  back.    Square  tapered  legs  —  W  28,  S.D  22,  H  34. 


37 


No.  235  KINGSLEY  —  Chippendale  Mahogany  Arm  Chair,  from  EngHsh  design  of  the  period  1770.   Buttoned  back  and  seat 
optional.  Available  tufted. 


38 


No.  42  WELLt.SLL\'  —  Chippendale  Arm  Chair,  with  tufted  back  and  seat,  from  English  design  of  the  period  1760. 


39 


No.  304  CHATHAM  —  Regency  Mahogany  Arm  Chair,  from  Enghsh  design  of  the  period  18 10.   Painted  frame  if  desired. 

No.  13   BIRCHALL  — Sheraton  Console,  from  English  design  of  the  period  1795.  Mahogany,  inlaid  with  burl  maple,  satinwood, 
and  rosewood  —  L  36,  D  13^21  H  32. 


40 


No.  739  NORFOLK  —  Regency  Mahogany  Arm  Chair,  from  Enghsh  design  of  the  period   1820  —  W 
No.  387  BURNSDALE  —  For  description  see  page  2J. 


S.D  23,  H  33. 


41 


No.  40  EMERY  —  Chippendale  Wing  Chair,  upholstered  in  leather  with  buttoned  back  and  buttoned  seat,  from  English  design 
of  the  period  1 770. 


42 


No.  434  FORBES  —  English  Type  Overstuffed  Arm  Chair,  channel  back,  inside  tufted  arms  —  VV  29,  S.D  22,  H  31. 


43 


No.  623  CONRAD  — Sheraton  Nest  of  Tables,  from  English  design  of  the  period  1790.    Mahogany  inlaid  with   satinwood. 
Outside  table  tooled  leather  top,  banded  with  satinwood;  inside  tables  all  mahogany  tops  — L  21,  D  13K,  H  27. 

No.  389  TROWBRIDGE  — Sheraton  Wing  Chair.  Buttoned  barrel  back  —  W  26,  S.D  20,  H  41. 


44 


No.  750  MADISON  —  Hepplewhite  Wing  Chair,  from  English  design  of  the  period  1785.    Tufted  back  and  seat  —  W  25, 
S.D  20,  H  221/2. 

No.  766  OXFORD  —  Chippendale  Mahogany  Table,  from  EngHsh  design  of  the  period  1770  — L  27K,  D  20,  H  27. 


45 


No.  598  DAWSON  —  Adam  Mahogany  Oval-Back  Arm  Chair,  from  English  design  of  the  period  1785  —  W  24,  S.D  20,  H  37. 


46 


No.  597  BURBANK  —  Hepplewhite  Upholstered  Arm  Chair,  from  English  design  of  the  period  1785  — W  22,  S.D  17,  H  37. 


47 


fiHWUfrTWTfw   if  I. 


No.  1003  COOPER  —  Chippendale  Mahogany  Two-Tier  Dumb  Waiter,  from  Enghsh  design  of  the  period  1760.  Bottom  tray  — 

Dia.  23><,  H  33. 
No.  294  SUTTON  —  English  Type  Overstuffed  .-^rm  Chair  with  tufted  back  and  arms. 


No.  46   PLYMOUTH  —  Chippendale  Arm  Chair,  from  English  design  of  the  period  1760. 


49 


t 


No.  253   BURGESS  —  Regency  Table,  from  English  design  of  the  period  1810.    Mahogany,  inlaid  with  tulipwood  — L  24, 
D  17,  H  281^. 


SO 


No.  375  LANSFORD  —  Regency  Table,  from  English  design  of  the  period  1810.  Mahogany,  with  ebonized  turnings,  and  brass 
gallery;  one  long  drawer  —  L  27,  D  I53'2,  H  29. 


51 


No.  254  CODMAN  —  Sheraton  Spider-Leg  Table,  from  English  design  of  the  period  1790.    Mahogany,  inlaid  with  English 
ash  —  L  29,  D  1 2,  H  27}  2,  leaves  down;  D  t,2  leaves  up. 

No.  55  CROSSLEY  —  For  description  of  Sofa  see  page  66. 


=i^- 


No.  454  EDWARDS  —  Hepplewhite   I'able,  from  English  design  ot  the  period  1785.  Mahogany,  with  figured  mahogany  top 
cross-banded  with  mahogany.  One  drawer  —  L  -9,'  2,  D  21 J  2,  H  283-2. 

No.  472  BARNARD  —  Lawson  Tvpe  Sofa,  with  Greek-key  arm.     Front  rail  75". 


S3 


No.  682  EVANS  —  Mahogany  Spider-Leg  Table,  from  American  origin  of  the  period  1760  — L  lo,  D  ^^H,  H  24,  leaves 
down;    L  46,  leaves  up. 


54 


No.  453  GRANADA  —  Adam  Tabic,  from  English  design  of  the  period  1785.    Top  of  quartered  figured  mahogany,  cross- 
banded  with  mahogany;    one  drawer  —  L  29,  D  10,  H  18. 


55 


No.  651   ABERDEEN  —  Chippendale  Mahogany  Coffee  Table,  adapted  from  butler's  tray.  English  design  of  the  period  1770. 
L3g,  D27K,  H  19. 


.__^ 


No.  288  BEDFORD  —  Chippendale  Coffee  Table,  adapted  from  English  design  of  the  period  1760.    Mahogany,  with  tooled 
leather  top  —  L  34,  D  21,  H  i6J^. 


57 


No.  367  RADDISON  —  Chippendale  Nest  of  Tables,  adapted  from  English  design  of  the  period  1770.  Mahogany,  with  tooled 
leather  top  —  Dia.  27,  H  i8>2. 


58 


No.  267  CHILTON  —  Regency  Coffee  Table,  adapted  trom  English  design  of  the  period  1810.  Mahogany,  with  tooled  leather 
top.  Two  small  drawers  —  L  2oM>  D  2634)  H  18. 

No.  243  ROGERS  —  Regency  Love  Seat,  from  English  design  of  the  period  1815.     Front  rail  54". 


59 


No.  380  GLEASON  —  Regency  Coffee  Table,  adapted  from  English  design  of  the  period  18 10,  for  use  as  a  Hobby  table.  Ma- 
hogany, with  tooled  leather  top.  Contains  two  drawers,  and  center  display  section,  glass  with  brass  grille  —  L  36, 
D  19K,  H  19. 


60 


No.  469  OWENS  —  Regency  Cotfee  Table,  adapted  from  English  design  ot  the  period  18 10.  Mahogany,  with  gold-tooled  leather 
top  — L36,  D  ii8'2^  H  I7>2. 


61 


No.  644  RALSTON  —  Hepplewhite  Coffee  Table,  adapted  from  English  design  of  the  period   1785.  Mahogany,  with   insert 
of  gold  tooled  leather  —  Dia.  36,  H  iS'i. 

No.  498  JEROME  —  English  Type  Overstuffed  Sofa,  kidnev  shape,  with  square  tapered  legs.  Tufted  back  and  seat  —  L  ;% 
S.D  20,  H  29. 


62 


No.  605  FRANKLIN  —  English  Type  Overstuffed  Love  Seat  —  L  52,  S.D  22,  H  29. 

No.  255  BRIMMER  —  For  description  of  table  see  page  67. 

No.  387  BURNSDALE  —  For  description  of  library  steps  see  page  23- 


63 


vVaj  . 


m 

^ 

j      1 

] 

I 


A.^^^'^Z.- 


mmpt 


No.  776  ADUINGTOX  —  English  Type  Overstuffed  Love  Seat.     Tutted  back  and  seat  —  L  50,  S.D  21,  H  n^^yi. 

No.  773  WENDELL  —  Coffee  Table  adapted  from  Chinese  Chippendale  design.     Lacquered  mahogany,  color  optional. 
."Mso  available  in  mahogany  finish  —  L  44,  D  2j,  H  l8J^. 


64 


No.  738  CHOATE  —  English  Type  Overstuffed  Small  Sofa  —  L  58,  S.D  24,  H  32. 

No.  417  ROCKWELL —    Regency  Mahogany  Canterbury  Table,  from  English  design  of  the  period  1815.       Figured  ma- 
hogany top;   one  long  drawer  —  L  17,  D  26,  H  26. 


65 


No.  55   CROSSLEY  — Chippendale  Sofa,  from  American  design  of  the  period  1770,  New  England  origin.   Mahogany,  hand 
cnrved  frame.    Front  rail  72  . 


66 


r 


No.  255  BRIMMER  —  Regency  Coffee  Table,  adapted  from  English  design  of  the  period  1810.  Mahogany,  with  gold  tooled 
leather  top  —  L4I,  D  19,  H  22. 

No.  490  PEARSALL  —  English  Type  Overstuffed  Sofa,  with  turned  legs  —  L  79,  S.D  23,  H  30. 


67 


No.  274   FIELDING  —  English  Style  of  Overstufted  Sofa,  three-section  cushion  seat.     Front  rail  80". 

No.  774  CRAWFORD  —  Hepplewhite  Mahogany  Hunt  Table,  from  English  design  of  the  period   1790  —  L  54,  D  27, 
H  23,  leaves  down;     D  37,  leaves  up. 


68 


No.  204  FANEUIL —  Sheraton  Mahogany  Sofa,  from  Enghsh  design  of' the  period  1795.    Front  rail  79". 


69 


No.  784  ACRES  —  English  Type  Overstuffed  Sota,  kidney  shape.     Tutted  back  and  seat.     Front  rail  84". 


70 


No.  752  FAYETTE  —  English  Tvpe  Overstuffed  Sofa,  three  down  pillows,  and  three  down  seat  cushions  —  L  87,  S.D  22, 
H31. 


71 


No.  789  MOUNTFORT  —  Chippendale  Sofa,  from  English  design  of  the  period  1760.     Front  rail  7J" 


72 


No.  790  NEWHALL  —  Regency  Sofa,  from  English  design  of  tiie  period  1820  —  L  71,  S.D  22,  H  _5j;>^ 


73 


No.  317  DOUGLAS  —  Regency  Card  Table,  from  English  design  of  the  period  i8ao.  Black  and  gold  decoration,  tooled  leather 
top,  two  drawers.  Also  available  in  mahogany  —  L  31^^,  D  31K,  H  29. 

No.  69  WALLACE  —  Hepplewhite  Upholstered  Arm  and  Side  Chair,  from  English  design  of  the  period  1785.  Mahogany  frame. 


74 


No.  749  VALENTINE  —  Regency  Upholstered  Side  Chair,  from  English  design  of  the  period  1810.  Tufted  back  — 
W  20,  S.D  16,  H  35K- 

No.  788  SUFFOLK  —  Sheraton  Mahogany  Game  Table,  from  English  design  of  the  period  1785.  Gold  tooled  leather  top 
for  cards,  reversible  for  chess  or  checkers.  Top  removable  revealing  gold  tooled  leather  well  for  backgammon 
-  L  r-'A,  D  26,  H  joj^. 

75 


No.  589    NEWMARKET  —  Sheraton  Handkerchief  Table,  from  EngHsh  design  of  the  period  1790.  Inside  top  of  tooled  leather 
for  cards;  one  reversible  drawer,  tooled  leather,  arranged  for  backgammon  or  chess  —  L  21,  D  21,  H  28. 


76 


No.  589  NEWMARKET  —  Illustrating  table  on  opposite  page  opened  —  Top  30  x  30. 

No.  440  CLAYMORE  —  Regency  Side  Chair,  trom  English  design  of  the  period  18 15.  Mahogany,  with  brass  rosettes. 


77 


No.  286  LEVERETT — Regency  Commode,  Irom  English  design  ot  the  period  1810.  Mahogany,  inlaid  with  tulipwood  and 
ebony  lines;  mirror  backs  in  end  sections  — ^  L  46,  D  I4M.  H  36' 2. 


78 


No.  6i   BURNHAM  —  Sheraton  Commode,  from  English  design  ot  the  period  1790.  Mahogany,  inlaid  with  satinwood.  Cup- 
boards contain  sliding  silver  trays  tor  use  as  a  dining  room  piece  —  L  50)^2,  D  23,  H  36. 


19 


No.  458  BELGRAVE  —  Regency  Commode,  from  English  design  of  the  period  18 10.  Mahogany,  with  brass  grille  — L  35K, 
Di6,H34H. 


80 


No.  260  JACKSON  —  Hepplewhite  Commode,  from  English  design  of"  the   period  1785.    Mahogany,  inlaid  with  tulipwood, 
brass  wire  grille.    Two  drawers  —  L  34,  D  15,  H  37. 


81 


•'♦:♦-*-; 


\ 


No.  763  NOTTINGHAM  —  Regency  Commode,  from  English  design  ot"  the  period  1810.    Mahogany  and  thuya;   ebonized 
column  and  feet.     Brass  grille  —  L  J!iJ^,  D  16K,  H  t,2^. 


82 


No.  Ii8  HASTINGS  —  Chippendale  Mahogany  Chest  of  Drawers,  serpentine  front,  from  Enghsh  design  of  the  period  1770- 
L28,  D18,  H31. 


No.  765  SHAWMUT  —  Queen  Anne  Chest,  from  F.nglish  design  ot  the  period  1715.    Mahogany,  with  Australian  maple 
drawer  fronts.     Gold   tooled  leather  writing  or  service  slide  —  L  25^,4,   D   15,  H   28. 


84 


No.  647   DUNMORE  —  Chippendale  Mahogany  Bachelor's  Chest,  from  English  desian  of  the  period  1-60.     Five  drawers 
—  L  26>2,  D  13,  H  29M. 


85 


iiV-£-  v.<t,£i 


No.  6io  SUMNER  —  Chippendale  Mahogany  Chest  of  Drawers,  serpentine  front,  from  English  design  of  the  period  1770. 
Four  drawers  and  gold  tooled  leather  writing  or  service  slide  —  L  43}i,   D  21M,  H  36. 


86 


No.  621  DWINELL — Hepplewhite  Bow-Front  Chest  ot  Drawers,  from  English  design  ot  the  period  1785.  Mahogany,  inlaid 
with  satinwood.  Gold  tooled  leather  writing  or  service  slide  —  L  38,  D  20,  H  34>2. 


87 


No.  596  CORNWALL  — Hepplewhite  Mahogany  Breakfront  Commode,  from  English  design  of  the  period    1785  — L  38, 
D  13 --2,  H  30. 


88 


No.  68 1  HOLLINGSWORTH  —  Regency  Mahogany  Commode,  from  English  design  of  the  period  i8o".  Three  drawers,  two 
cupboards  and  center  portion  with  brass  grille  —  L  48,  D  14,  H  34. 


No.  679  ROLF  — Hepplewhite  Commode,  from  English  design  of  the  period  1790.  Mahogany,  inlaid  with  rosewood.  One 
drawer,  three  sliding  trays.  Suitable  size  for  dining  room  use  —  L  41,?^,  D  l8  5^,  H  34. 


90 


No.  759  DEVON  —  Hepplewhite  Commode,  from  English  design  of  the  period   i7!S5.    Mahogany,   with  two  gold  tooled 
leather  writing  or  service  slides.     Ten  drawers  —  L  503^,  D  20,  H  35K. 


91 


No.  404  BEAUPORT  —  Chippendale  Pedestal  Writing  Desk,  from  English  design  ot'  the  period  1770.  Mahogany,  with  tooled 
leather  top.  File  drawer  under  top  drawer  in  left-hand  pedestal  —  L  54,  D  30,  H  303^. 

No.  466  FARRELL—  Chippendale  Mahogany  Side  Chair  from  English  design  of  the  period  1760. 


92 


No.  68   BUCKINGHAM  —  Sheraton  Writing  Desk,  kidney  shaped,  from  English  design  of  the  period  1790.  Mahogany,  inlaid 
with  rosewood,  tooled  leather  top;  file  drawer  lower  right  —  L  49,^2,  D  23,  H  30. 

No.  69  WALLACE  —  Hepplewhite,  Mahogany  .Arm  Chair  from  English  design  of  the  period  1785. 


93 


No.  64V  NORTHCLIKFE— Chippendale  Mahogany  Pedestal  Writing  Desk,  from  English  design  of  the  period  1770.  Gold 
tooled  leather  top;  file  drawer  lower  right  — L  48,  D  27,  H  29,' 2. 


94 


No.  633  KILBY  —  Hepplewhite  Mahogany  Table  Desk,  from  English  design  of  the  period  178s.  Gold  tooled  leather  top;  six 
drawers  —  L  55,  D  2q,  H  30V2. 

No.  474  BRIGGS  —  Hepplewhite  Mahogany  Upholstered  Arm  Chair,  from  English  design  of  the  period  1785.  Color  of  leather 
optional  —  VV  24,  S.D  20,  H  23- 


95 


No.  770  FESSENDEN  -  Chippendale  Pedestal  Writing  Desk,  from  English  design  of  the  period  1770.     Mahogany,  with 
gold  tooled  leather  top.     Two  cupboards  and  three  drawers  on  reverse  side  —  L  60,  D  33,  H  2914. 


q6 


No.  3o8  MANCHESTER  —  Chippendale  Pedestal  Writing  Desk,  from  English  design  of  the  period  1770.    Chinese  lacquer 
decoration  with  tooled  leather  top,  color  optional.   File  drawer  lower  right  —  L  n4,  D  30,  H  30^. 

No.  75  HOLBECK  —  Chippendale  Mahogany  Ladder-Back  .Arm  Chair,  from  English  design  of  the  period  1770. 


97 


No.  723  SAVORY  —  Sheraton  Table  Desk,  from  English  design  of  the  period   1800.     Mahogany,  inlaid  with  satinwood 
p.nd  ebony.     Gold  tooled  leather  top;    four  drawers  —  L  48,  D  28,  H  joi^. 


No. 
No. 


84  APPLEGATE  —  Sheraton  Tambour  Writing  Desk,  from  American  design  of  the  period   1790.  Attributed  to  John 
Seymour  and  Son,  Boston.  Mahogany,  inlaid  with  satinwood  —  L  37,  D  i8t2,  H  34}^. 

597  BURBANK  —  Hepplewhite  Arm  Chair,  tor  description  see  page  47. 


99 


No.  74  ANDOVER  —  Chippendale  Mahogany  Block-front  Secretary,  from  American  design  of  the  period  1770,  Rhode  Island 

School.  Desk  can  be  had  separately  —  L  36,  D  19H.  H  84. 
No.  75  HOLBECK  —  Chippendale  Mahogany  Ladder-back  Arm  Chair,  from  English  design  of  the  period  1770. 


No.  76  HINGHAM  —  Chippendale  Mahogany  Secretary,  from  English  design  of  the  period  1765.  Desk  interior  similar  to  piece 
on  opposite  page;  desk  can  be  had  separately  — •  L  36,  D  18,  H  86. 


No.  298  GATESWELL  —  Sheraton  Tambour  Secretary,  from  American  design  of  the  period  1790,  New  England  origin.     Ma- 
hogany, inlaid  with  satinwood  —  L  37,  D  18^,  H  78. 


102 


No.  781   VERNDALE  —  Regency  Mahogany  Shelves,  from  English  design  of  the  period  1810  —  L  1,4,  D  11,  H  25. 

No.  780  MIDDLESEX  —  Regency  Mahogany  Commode  with  butler's  drawer,  from  English  design  of  the  period  1810 
-L  36,  D  18^,  H  37. 


103 


No.  459  VAUGHAN  —  Regency  China  Cabinet  or  Bookcase,  from  English  design  of  the  period  1810.  Mahogany,  with  painted 
interior,  color  optional  —  L  30,  D  1 1,  H  85. 


104 


No.  762  KENSINGTON  —  Regency  Mahogany  China  Cabinet  or  Bookcase,  from  English  design  of  the  period  1820- 
L  SI,  D  IS,  H  91. 


105 


No.  85  BERKELEY  —  Hepplewhite  Bookcase,  from  English  design  of  the  period  1785.  Mahogany,  inlaid  wirh  English  ash 
L  ,^6,  D  I  o,  H  46. 


id6 


No.  151   COMPTON — Regency  Bookcase,  from  English  design  of  the  period  1810.    Mahoaany,  with  tooled  leather  writing 
slide,  and  brass  grille  doors  —  L  30I-2,  D  1 1,  H  57. 


107 


No.  449   JOHNSBURY  —  Sheraton  Mahogany  Bookcase,  from  English  design  of  the  period  1790.  Two  drawers  — L  22j^, 
D  10,  H  45K. 


108 


HOSPITALITY  REIGNS  /;/  the  DINING  ROOM 

<?/(a^  friends  o/^wine  ^  good 'iooA 

with    the    charm    of  a    GEORGIAN    DINING    TABLE    promote 
A    FLOW   OF    WIT,   A    FEAST   OF    REASON 
<£?    A   HAPPY   GUEST 


No.  86  DEANSGATE  —  Chippendale  Mahogany  Breakfront  Bookcase  or  China  Cabinet  with  butler's  drawer,  from  English 
design  of  the  period  1770 —  L  56,  D  17,  H  78. 


No.  658  ALGONQUIN  —  Hepplewhite  Breakfront  Bookcase  with  butler's  drawer,  from  English  design  of  the  period  1785. 
Mahogany,  inlaid  with  satinwood  —  L  68,  D   18,  H  91. 
This  piece  also  available  without  the  scroll   top  —  H  SaK. 


No.  769  HOLDEN  —  Hepplewhite  Mahogany  Breakfront  Bookcase  with  butler's  drawer,  from  English  design  of  the  period 
1785  — L  82,  D  19^,  H.86. 


iia 


No.  261    HAVILAND  —  Hepplewhite   Mahogany  Breakfront  Bookcase   with  butler's  drawer,  from    Enalish  design    of  the 
period  1785  — L  76,  D  151^,  H  85. 


"3 


No.  379  BEACHAM  —  Regency  Wing-front  Bookcase  or  China  Cabinet,  from  English  design  ot  the  period  1815.  Mahogany, 
with  black  and  gold  decorations,  painted  interior  —  L65,  D  14,  H  82. 


114 


No.  91   WARWICK  —  Hepplewhite  Breakfront  Bookcase  or  China  Cabinet,  from  English  design  of  the  period  1785.  Mahogany, 
with  old  blue  painted  interior,  paint  color  optional  —  L  48,  D  14,  H  80. 


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No.  636L  WALTHAM  —  Chippendale  Mahogany  Bookcase  with  butler's  drawer,  from  English  design  of  the  period  1770. 
Decorated  in  black  and  gold  or  red  and  gold  Chinese  lacquer,  with  interior  of  jade  green;    color  optional  —  L  6< 
D  i7>^,  H  87.  ^  f  i> 


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No.  757  WESTBOURNE  —  Hepplewhite  China  Cabinet,  from  English  design  of  the  period   1785.  Mahogany,  with  two 
gold  tooled  leather  writing  or  service  slides  —  L  5oJ-^,  D  20,  H  85. 


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No.  93  STAMFORD  —  Chippendale  Corner  Cabinet,  from  American  design  of  the  period  1775.  New  England  origin.  Mahogany 
with  painted  interior  any  color  desired.    Also  available  with  paned  glass  door  —  L  30,  D  15,  H  78. 


I    .t:    ^  -2  'C  -£   CO     _      3-;>     u     n 

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No.  722  CLIFTON  —  Hepplewliite    Breakt'ront  Commode,   from   English  design  of  the  period    1785.     Mahogany,  inlaid 
with  satinwood.     Service  slide  has  insert  of  tooled  leather  —  L  71,  D  21,  H  37. 


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No.  754  HANOVER  —  Chippendale  Mahogany  Breakfront  Commode  from  English  design  of  the  period  1790.  Center 
top  is  hinged  to  rest  on  slides.  Two  lower  drawers  are  single  ones  simulating  two.  Left-hand  cupboard  contains 
partitioned   bottle  drawer  —  L  72,   D  21 J^,  H  363^. 


125 


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No.  431   RUMFURD  —  Regency  Mahogany  Commode,  from  English  design  of  the  period  1810.  End  sections  have  hand-made 
brass  grilles  trimmed  with  brass  rosettes  —  L  68,  D  19,  H  36. 


127 


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No.  99  SOUTHMEAD  —  Hepplewhite  Sideboard,  from  American  design  of  the  period  1785.  Connecticut  origin.  Mahogany, 
inlaid  with  satinwood,  ebony  and  holly  lines,  and  marquetry  —  L  70,  D  23,  H  38. 

Portrait  of  Samuel  Alleyne  Otis,  Father  of  Harrison  Gray  Otis,  both  Beacon  Hill. 


129 


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130 


No.  655  LARCHMONT  --  Hepplewhite  Serpentine-Front  Sideboard,  from  English  design  ot  the  period  178.-.  Mahogany,  inlaid 
with  satinwood  lines  and  marquetry.  Drawer  fronts  and  doors  crossbanded  with  rosewood.  Two  lone  drawers  and 
two  compartments  —  L  70,  D  25,  H  36' 4. 


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132 


No.  104  MARLBORO  —  Hepplewhite  Console,  or  Serving  Table,  from  English  design  of  the  period  1780.  Mahogany,  hand- 
carving;  one  long  silver  drawer  —  L  72,  D  i63^,  H  36. 


133 


Upper  left 

No.  358  BLAISDELL  —  Regency  Mahogany  Side  Chair,  from  Enghsh  design  of  the  period  1815.  Tufted  spring  seat. 

Upper  right 

No.  1017  GIBBES  —  Duncan  Phyfe  Mahogany  Side  Chair,  from  American  design  of  the  period  181 5.  New  York  origin. 

Lower  left  and  right 

No.  359  DRAPER  —  Regency  Arm  and  Side  Chair,  from  English  design  of  the  period  1810.  Mahogany,  inlaid  with  satinwood. 

134 


No.  69  WALLACE  —  Hepplewhite  Upholstered  Arm  and  Side  Chair,  from  English  design  ot  the  period  1785.  Mahogany  frame. 
No.  71   KENWOOD  —  Hepplewhite  Mahogany  Arm  and  Side  Chair,  from  English  design  of  the  period  1785. 


135 


Upper  left  and  right 

No.  64  HALSEY  —  Chippendale  Mahogany  Arm  and  Side  Chair,  from  American  design  of  the  period  1770. 

Lower  right 

No.  419  SAWi'ER  —  Hepplewhite  Mahogany  Side  Chair,  from  American  design  of  the  period  1785. 


136 


Upper  left 

No.  238  ANDREWS  —  Regency  Mahogany  Arm  Chair,  from  English  design  of  the  period  18 10. 

Lower  left 

No.  440  CLAYMORE  —  Regency  Side  Chair,  trom  English  design  ot  the  period  1815.  Mahogany  with  brass  rosette. 

Lower  right 

No.  439  BRAEMORE  —  Regency  Mahogany  Upholstered  Side  Chair,  from  English  design  of  the  period  1815. 

137 


-:1 


No.  775   BRADFORD  — Chippendale  Mahogany  Serving  Table,  from  English  design  of  the  period  1780.     Serving  slide 
with  gold  tooled  leather  top,  color  optional  —  L  .^8,  D  20,  H  :^3K. 


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No.  114  COLTON  —  Hepplewhite  Serving  Table,  from  English  design  of  the  period  1785.  Mahogany,  with  ebony  lines;  three 
serving  slides  with  tooled  leather  tops  —  L  36,  D  i8>^,  H  32. 


139 


No.  272  BRISTOL  —  Regency  Serving  Table,  from  English  design  of  the  period  1810.   Mahogany,  inlaid  with  panels  of  satin- 
wood  on  the  legs  and  outside  uprights —  L48,  D24,  H41. 


140 


Xk. " 


BED  ROOMS 


BEAUTY  &  COMFORT  in  the  BEDROOM 

graceful  (^eo7'gian  C^urnitiire 

in  the  bedroom,  built  with  the  double  motive  oi beauty  &  comfort, 
gives  an  atmosphere  o/'restful  charm 

©■  QUIET  LUXURY 


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No.  771   STRATHMORE  —  Hepplewhite   Bed,  from   English  design  of  the  period   1800.     Mahogany,  with   ebony  lines. 

Headboard  panel  is  removable  for  upholstering.       3'V'  and  4'6".     Headboard  40,  Footboard   I2>^. 
No.  77;;  COLBOURNE  —  Sheraton  Table,  from  English  design  on  the  period   1790.     Mahogany,  inlaid  with  satinwood, 

ebonized  lines;    wood  gallery  —  L  22,  D  i8>^,  H  28. 
No.  779  PE.'\BOI)Y  —  Sheraton  Book  Basket,  from  English  design  of  the  period  1790.    Mahogany,  inlaid  with  satinwood; 

ivory  knobs  —  L  20,  D  8,  H   14. 

142 


tMb^ffiBKi^.^u...  ^  .  . 


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No.  134  SEELER  —  Sheraton  Chest  of  Drawers,  from  American  design  of  the  period  1790.  Philadelphia  origin.  Mahogany, 
inlaid  with  satinwood,  ivory  escutcheons  —  L  43,  D  22,  H  35. 


143 


No.  185  RADCLIFFE  —  Sheraton  Dressing  Table,  from  English  design  of  the  period  1790.  Mahogany,  inlaid  with  satinwood. 

One  shallow,  and  one  deep  drawer  on  either  side  in  upper  case.  Top  pulls  forward  for  additional  space  —  L  34,  D  19, 

H57- 
No.  128  PAXTON  —  Hepplewhite  Mahogany  Stool,  from  English  design  of  the  period  1785.    D  ii,  H  18. 

144 


No.  184  SELDON  —  Sheraton  High  Ghest,  from  EngHsh  design  of"  the  period  1790.  Mahogany,  inlaid  with  satinwood;  ivory 
escutcheons.  Four  similar  drawers  and  one  deep  blanket  drawer.  Toilet  slide  center  —  L  35,  D  19/2,  H  49. 

No.  359  DRAPER  —  For  description,  see  page  134. 


U5 


No.  758  LEEDS  —  Hepplewhite  Serpentine-Front  Chest  of  Drawers,  t'rom  English  design  of  the  period  1785.  Mahogany, 
inlaid  with  satinwood  and  rosewood  lines;  ivory  escutcheons.  Illustration  shows  two  butted  together  to  form 
a  double  chest  —  Each  piece  L  4a,   D  23,  H  .55. 


146 


No.  760  SHREWSBURY  —  Hepplewhite  Serpentine-Front  High  Chest,  from  Enghsh  design  ot  the  period   1785,     Ma- 
hogany, inlaid  with  satinwood  and  rosewood  lines;    ivory  escutcheons  —  L  40,  D  21,  H  49. 


147 


"% 


No.  lyt/  McKEAN  —  Regency  Bed,  adapted  from  Enulish  design  ot  the  period  iSio.  Mahogany,  tretted  portion   black  and 
gold,  or  mahogany  if  preferred,  j'j"  and  46".  Headboard  40,  Footboard  28. 


148 


No.  123  MACOMBER  — Hepplewhite  Mahogany  Bow-Front  Chest  of  Drawers,  inlaid  with  burl  maple  and  ebony  lines,  from 
English  design  of  the  period  1785.  Toilet  slide;  reproduction  Battersea  enamel  hardware  —  L  39,  D  22,  H  34^- 

No.  )6  KINROSS  —  Sheraton  Mirror,  from  English  design  of  the  period  1800.  Antiqued  gold  leaf,  with  eglomise  panel  — 
frame  35  x  23,  mirror  27  x  i^yi. 


149 


No.  127  GLENCOE  —  Hepplewhite  Mahogany  Powder  Table,  serpentine  front,  from  English  design  of  the  period  1785.     Ivory 
pulls  and  paterae  —  L  27,  D  17,  H  54. 

No.  128  PAXTON  —  Hepplewhite  Mahogany  Stool,  from  English  design  of  the  period  1785.  Dia.  21,  H  18. 


150 


No.  Ill   MAYFAIR  —  Hepplewhite  High  Chest  of  Drawers,  from  English  design  of  the  period  1785.  Mahogany  and  burl  maple. 
Five  drawers  —  L  37' 2,  D  21,  H  48'2. 


151 


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No.  125  BAXTER  —  Hepplewhite  Mahogany  Carved  Field  Bed,  from  American  design  of  the  period  1790,  Philadelphia  origin. 
Can  be  had  without  canopy  frame.  3'  3"  and  4'  6".  Posts  67". 


152 


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No.  164  MILLER  —  Sheraton  Mahogany  Field  Bed,  from  American  design  of  the  period  1795,  Salem,  Massachusetts,  origin. 
Original  once  owned  by  General  Miller  of  the  War  of  1 8 1 2,  is  still  in  possession  of  a  descendant.  Can  be  had  without 
canopy  frame.  3'  3"  and  4'  6".  Posts  68". 


153 


No.  503  BRADBURY  —  Regenc\%Mahogany  Bed,  adapted  from  English  design  of  the  period  18 15.  j'j"  and  4'6".  Headboard 
42,  Footboard  25. 

No.  504  BRADBURY  —  Regency  Table,  from  English  design  of  the  period  1815.  Mahogany,  trimmed  with  ivory  pulls.  Three 
Drawers  —  L  16K,  D  l6>2,  H  29. 


'54 


No.  500  BRADBURY  —  Regency  Chest  of  Drawers,  from  English  design  of  the  period  1 8 1 5.  Mahogany,  trimmed  with  synthetic 
ivory  ring  pulls  —  L  44,  D  l^yi,  H  38. 

No.  505  BRADBURY  —  Regency  Mirror,  from  Continental  design  of  the  period  18 10.  Bone  white  and  lavender,  gilt  decoration. 
Also  available  in  mahogany —  Frame  41  x  23,  Mirror  29^2  x  lyH- 


155 


n 


No.  502  BRADBURY  —  Regency  Dressing  Table,  from  English  design  of  the  period  18 10.  Mahogany,  trimmed  with  iyorv  pulls. 
Five  drawers  —  L  43>^,  D  19,  H  29. 

No.  50b  BRADBURY  —  Regency  Oval  Gilt  Mirror,  from  English  design  of  the  period  1815.  Frame  32  x  24,  Mirror  29  x  21. 


156 


No.  501   BRADBURY —  Regency  Chiffonier,  from  English  design  of  the  period   1815.  Mahogany,  trimmed  with  synthetic 
ivory  ring  pulls.  Three  drawers,  two  sliding  trays  —  L  36,  D  19,  H  49. 


157 


i 


No.  625  PORTSMOUTH  —  Sheraton  Bed,  from  American  design  of  the  period  1800,  New  Hampshire  School.  Mahoeanv, 
inlaid  with  fancy  lines  — 3'3"  and  4'6".  Headboard  41,  Footboard  26. 

No.  625  PORTSMOUTH  —  Hepplewhite  Table,  from  American  design  of  the  period  1800,  New  Hampshire  School.  Mahogany, 
inlaid  with  rosewood  —  L  i7>i,  D  17J-2,  H  28 ^i. 

158 


No,  628  CONNECTICUT  —  Hepplewhite  Serpentine  -  Front  Chest  of  Drawers,  from  American  design  of  the  period  1790. 
Mahogany,  inlaid  with  holly  lines.  Connecticut  origin  —  L  42,  D  22,  H  36. 


159 


'¥       ^'"' 


No.  764  NEEDHAM  —  Chippendale  Table,  from  English  design  of  the  period  1-80.    Tambour  front  enclosing  cupboard; 
bottom  section  with  tooled  leather  top  pulls  forward.     Mahogany,  inlaid  with  holly  —  L  20,  D  18^2,  H  ji. 

No.  771   STRATHMORE  —  Hepplewhite   Bed,  from   English  design  of  the  period    1800.     Mahogany  with    ebony  lines. 
Headboard  panel  is  removable  for  upholstering  —  3'j"  and  4'6".     Headboard  40,  Footboard  I2>2. 


160 


No.  628  CONNECTICUT —  Hepplewhite  Serpentine-Front  High  Chest,  from  American  design  of  the  period  1790.  Mahogany, 
inlaid  with  holly  lines.  Five  drawers  —  L  37,  D  21,  H  48. 


161 


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No.  151   BERKSHIRE  — Hepplewhite  Mahogany  Four-Post  Bed,  from  American   design  of  the  period   178?.  Philadelphia 
origin  —  3'  3"  and  4'  6".  Posts  65". 

No.  75  HOLBECK  —  Chippendale  Mahogany  Ladder-Back  Side  Chair,  from  English  design  of  the  period  1770. 


162 


No.  153  BARRETT —  Chippendale  Mahogany  Chest  of  Drawers,  from  American  design  of  the  period  1770 — L42,  D  20,  H  361^. 


163 


No.  163  DAVIDSON  —  Hepplewhite  Powder  Table,  in  black  and  gold  Chinese  lacquer,  peach  colored  interior,  from  English 
design  ot  the  period  1785.  Also  available  in  mahogany  as  No.  142  Davenport  —  L  36,  D  17,  H  3lH- 

No.  128  PAXTON  —  For  description  ot  stool,  see  page  150. 


T64 


No.  152  BARDWELL  —  Chippendale  Mahogany  Block-Front  Chest-on-Chest,  from  American  design  of  the  period  1770.  Eight 
drawers  —  L  34 '  2 ,  D  1 8  J^,  H  62. 

No.  75  HOLBECK  —  Chippendale  Mahogany  Arm  Chair,  from  English  design  of  the  period  1770. 


165 


No.  667  GROSVENOR-Hepplewhite  Mahogany  Four-Post  Bed  with  Canopy,  from  English  design  of  the  period  1785.  4' 6', 
No.  439  BRAEMORE  —  For  description  of  chair  see  page  137. 


166 


No.  720  WIMPOLE- Chippendale  Mahogany  Double  Chest  of  Drawers,  adapted  from  American  design  of  the  period 


720  — L  61,  D  21,  H  j6. 


167 


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No.  753  HANCOCK  —  Chippendale  Mahogany  Highboy,  from  American  design  of  the  period  l7~o.    Connecticut  origin 
-  L  iS'A,  D  20,  H  79. 


168 


No.  732  ARLINGTON  -  Chippendale  Mahogany  Chest-on-Chest,   from   American   design   of  the  period    1780 -L    ^g 

JU    20i4,    H    65.  r  ,  OV. 


169 


No.  665  WHEELOCK  —  Queen  Anne  Mahogany  High  Chest,  from  American  design  of  the  period  1760,  Salem  type.    Con- 
tains six  drawers  —  L  36,  D  io}4,  H  ^SJ/i. 

No.  75     HOLBECK  —  Chippendale  Mahogany  Side  Chair,  from  English  design  of  the  period  1770. 


^iTtv 


No.  664  DEVEREAUX  —  (jueen  Anne  Mahogany  Chest  of  Drawers,  troni  American  design  ot  the  period  1760.  Salem  tvpe  • 
L42,  D2i,H37. 


171 


No.  666  DEVEREAUX  —  Queen  Anne  Mahogany  Chest-on-Chest,  from  American  design  of  the  period  1760,  Salem  type. 
Contains  eleven  drawers  —  L  35,'  2,  D  19,  H  SSyi. 


172 


The  BEACON  HILL   COLLECTION 

as  shown  in  the  galleries  of  B.  Altman  tV  Company  of  New  York  City 
and  Barker  Bros,  of  Los  Angeles,  California 


B.  ALTMAN  &  CO.,  NEW  YORK 


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MINIATURES  ^////^  BEACON  HILL  COLLECTION 

Being  un  Accoun  r  of  how  Master  Craftsmen  with  meticulous  care  reproduced 

in  perfect  scale  various  pieces  of  the  Beaco)!  Hill 

Collection  shown  in  this  hook 


AS  the  Beacon  Hill  Colltction  has  grown,  so  has  its 
/A  national  interest,  and  the  craftsmen  who  make 
±.  jL.  the  full-sized  Beacon  Hill  furniture  have  made 
these  tiny  reproductions  in  order  that  they  may  he 
used  as  a  traveling  exhihit  and  give  pleasure  to  as  many 
people  as  possible. 

They  have  heen  shown  from  coast  to  coast  wherever 
the  Beacon  Hill  Collection  is  exhibited. 

In  all  of  us  there  is  more  or  less  the  heart  of  a  child, 
and  one's  first  reaction  in  seeing  these  intriguing  minia- 
tures is  very  similar  to  a  child's  delight  in  seeing  for  the 
first  time  a  new  toy. 

On  examining  further,  one  is  conscious  of  the  ex- 


treme artistry  ami  craftsmanship  shown  in  these  tiny 
reproductions. 

F.ach  was  maile  from  exact  reduced  measured  draw- 
ings. Veneers,  fabrics,  and  decorations  were  selected 
of  the  same  wood  and  materials  as  their  counterparts. 

The  same  hands  made  the  fireplace  frames  and 
decorative  objects,  all  of  necessity  with  special  carving 
knives  and  tools.  The  diminutive  hardware  could  be 
worked  only  under  a  magnifying  glass.  Imagine  inlays 
reduced  to  a  hair  line  and  fitting  casters  on  a  table  leg 
the  size  of  a  match! 

Neither  word  nor  picture  can  reveal  the  charm  and 
infinite  detail  of  these  miniatures.  They  must  be  seen. 


mi. 


'79 


i8o 


I8I 


LITTLE  STORIES   of  GREAT  DESIGNERS 


T 


"^HF,  purpose  of  these  short  articles,  "Little  Stories  of 
Great  Designers,"  is  to  present  in  the  briefest  possible 
form  high  lights  of  the  various  furniture  styles  which 
were  developed  during  the  Georgian  Period. 

Much  fine  material  has  been  written  about  furniture  since 
the  beginning  of  the  twentieth  century,  but  unfortunately 
there  are  the  usual  inaccurate  statements,  plenty  of  supposi- 
tion, and  some  guesswork,  particularlv  in  the  earlier  books. 
Writers  were  frequentlv  biased.  Research  had  not  progressed 
to  a  point  where  thev  could  always  write  a  clear  story.  As  a 
result  there  is  considerable  confusion  in  the  mind  of  both  the 
student  and  the  casual  reader.  Few  writers  traced  the  de- 
velopment of  furniture  design  beyond  its  origin.  For  in- 
stance, Chippendale  furniture  was  Chippendale,  and  that's 
all  there  was  to  it.  Many  a  reader  has  been  forever  preju- 
diced because  his  intelligence  told  him  that  all  the  so-called 
Chippendale  "antiques"  could  never  have  been  made  by 
one  man  in  a  small  workshop.  They  apply  the  same  reason- 
ing to  the  work  of  other  great  cabinetmaker-designers. 

The  historv  ot  furniture  is  a  lifetime  study,  and  the  follow- 
ing pages  contain  woefully  few  words  with  which  to  paint  a 
complete  picture  ot  such  a  broad  subject.  Nevertheless,  the 
reader  may  find  something  ot  interest,  a  clarifying  pomt  or 
two  at  least,  which  will  make  the  writing  of  these  articles 
well  worth  while. 


182 


THOMAS      C  H  J  IMM^:  N  D  A  L  E 

hifiiiencc  1740-1775 


Interlacing  scrolls  and  Ingh-cresle.i 
top  rail 


"^  NGLAND  has  produced  many 
great     cabinetmakers,      but 
Thomas  Chippendale  is  un- 
doubtedly the  most  celebrated. 

F"rom  obscure  records  it  would 
seem  that  Chippendale  was  born  in 
the  early  eighteenth  century.  He 
died  in  1779  at  a  ripe  old  age.  While 
little  is  known  about  his  early  lite,  bv 
the  middle  of  the  eighteenth  century, 
at  least,  Chippendale  was  definitely 
established  as  London's  most  fash- 
ionable cabinetmaker. 

It  was  from  his  cabinet  shop  at  No. 
60  St.  Martin's  Lane  that  he  pub- 
lished in  1754  the  first  edition  of  "The 
Gentleman  and  Cabinet  Maker's 
Director."  It  was  largely  due  to  this 
book  of  furniture  designs,  a  glorified 
catalog  of  its  day,  that  his  name  has 
long  stood  for  the  characteristics 
found  in  furniture  of  the  period  in 
which  he  worked. 

The  book,  with  its  subsequent  edi- 
tions in  1759  and  1762,  gives  evidence 
of  a  distinguished  clientele  appar- 
ently obtained  by  years  of  satisfac- 
tory service.  We  are  permitted  just 
one  revealing  glimpse  within  the 
walls  of  Chippendale's  workshop, 
and  that  as  a  result  of  a  fire  in  the 
year  1775. 

An  old  inventory  lists  the  chests  ot 
twenty-two  workmen,  which  would 
certainly  indicate  a  large  establish- 
ment for  those  days. 


To  many  it  is  a  mystery  how  much 
antique  furniture  can  lie  attributed 
to  Chippendale.  It  simply  means  that 
the  name  of  Chippendale  has  come  to 
predominate  over  all  the  other  cab- 
inetworkers  of  his  time. 

By  "Chippendale"  furniture,  there- 
fore, we  mean  merely  furniture  de- 
signed and  produced  in  the  style  that 
was  popular  during  the  periotl  of 
Chippendale's  career.  All  the  good 
cabinetmakers  of  London  and  else- 
where in  England  were  occupied  in 
making  furniture  of  similar  styles. 
Many  of  these  cabinet  shops  made 
every  bit  as  excellent  furniture  as 
Chippendale.  It  is,  therefore,  a  fal- 
lacy to  attribute  the  finest  to  Chip- 
pendale's workshop,  at  the  same  time 
relegating  all  inferior  examples  to 
makers  unknown.  The  best  plan  is 
to  think  of  "Chippendale"  more  as 
a  definite  style,  or  fashion,  if  you 
will,  and  the  whole  period  as  the 
Chippendale  "School"  rather  than 
as  an  individual  or  an  individual 
workshop. 

On  the  other  hand,  Thomas  Chip- 
pendale was  a  really  noted  designer 
who  contributed  a  wealth  of  material 
to  the  furniture  which  so  justly  bears 
his  name.  He  successfully  adapted 
French,  Chinese,  and  Gothic  motives 
to  give  the  nation  a  different  type  of 
Anglicized  furniture.  The  predom- 
inating wood  was  the  newly  imported 
mahogany,  highly  polished,  and  en- 
riched with  exquisite  carving.  Inlay 
had  not  yet  come  into  vogue.  Char- 
acteristics of  Chippendale  design  — 
the  cabriole  leg  with  various  termi- 
nations, such  as  the  claw-and-ball; 
tripod  tables  with  fretted  galleries  or 
pie-crust  tops;  chairs  with  ladder 
backs  or  interlacing  scrolls,  all  with 
high-crested   top  rails;  frequent  use 


of  the  serpentine  curve;  and  above 
all,  masterly  execution  of  leafage, 
ribbon,  scroll,  and  interlacing  strap 
carving. 

In  America  the  ChippendaleSchool 
was  represented  by  such  worthy 
cabinetmakers  as  William  Savery, 
Jonathan  (lostelowe,  Thomas 
Tufts,  and   Henjamin   Randolph,  all 


(Cabriole    leg,    leujage   carved    ii'ith    ciaw    and 
hall  foot 


of  Philadelphia,  Goddard  and 
Townsend  of  Newport,  and  Major 
Benjamin  Frothingham  of  Charles- 
town,  Mass. 

They  were  able  craftsmen  all,  and 
in  no  sense  copyists  of  a  style  created 
abroad. 

In  these  capable  hands  the  pre- 
vailing fashions  of  the  Mother 
Country  were  modified  and  moulded 
with  distinction  into  a  Colonial 
School  of  Chippendale  of  which  we, 
their  descendants,  are  justly  proud. 


Scroll  top  pediment,  flame  finial 


183 


St 

JL  ti- 


ROBERT 


V  If  ^HE  purjjose  of  these  little 
stories  of  great  designers  ot 
the  (jcorgian  Period  is  to  por- 
tray in  a  few  words  salient  points 
which  influence  furniture  design. 
First,  we  establish  a  definite  style  as 
"Chippendale"  within  date  limits  of 
1740-1775,  which  is  roughlv  the 
known  years  of  popularity  accorded 
to  the  ideas  of  one  master  craftsman 
and  his  contemporaries. 

Quite  a  different  story  is  that  of 
Robert  and  James  Adam,  important 
architects  and  furniture  designers. 
Their  influence  on  style,  based  on 
popularity,  extended  from  about  the 
year  1760  until  practically  the  end  of 
the  eighteenth  century.  It  is  immedi- 
ately evident  that  this  period  not 
only  includes  the  date  of  the  Chip- 
pendale School,  but  also  overlaps  all 
the  great  cabinetmakers  of  the  late 
eighteenth  century,  causing  confu- 
sion to  most  minds.  The  ideas  de- 
veloped by  these  talented  men  were 
diametrically  opposed  to  the  style  ot 
Chippendale,  and,  furthermore,  were 
being  established  at  the  same  time. 
How  can  one  account  for  that?  It 
is  really  very  simple  —  the  Adam 
Brothers,  having  no  shop  of  their 
own,  let  their  work  out  to  any  cabinet 
shop  capable  of  executing  their  de- 
signs. Thus  Chippendale  not  only 
worked  for  the  Adams,  but  actually 
helped  them  in  creating  a  type  of 
furniture  distinctly  different  from 
that  known  by  the  name  of  Chippen- 
dale. 

Now  for  the  Adam  Brothers  and 
what  thev  stood  for.  Educated  men, 
these,  cultured  and  trained  to  head  a 
large  organization  which  not  only 
dominated  the  architectural  trend  of 


JAMES 

Influence  1760- 1795 


the  late  eighteenth  century,  but 
whose  influence  is  still  with  us  today. 
Thev  were  exponents  of  classic  forms 
in  furniture  and  architecture  due  to 
extensive  travel  in  Italy  and  abroad, 
and  styled,  it  not  originated,  a  tre- 
mendous new  trend  in  taste.  The 
Adams  were  primarily  architects,  but 
at  the  same  time  were  the  cleverest 
welders  of  materials  from  furniture, 
carpets,  and  furnishings,  to  complete 
architectural  interiors.  England  has 
produced  none  greater. 

Furniture  intluenced  by  these  fa- 
mous brothers  should  really  be  di- 


ADAM 


vidcd  into  two  distinct  groups.  The 
first,  or  earlier  style,  followed  the 
prevailing  taste  for  mahogany,  except 
the  form  was  more  delicate  than  that 
of  the  Chippendale  School.  They  gave 
l-.ngland  a  more  up-to-date  rendering 
based  on  classic  embellishments.  The 
second  group  consists  of  a  further 
development  influenced  by  Italian 
and  French  classic  design,  and  a 
departure  from  mahogany  made 
possible  by  the  importation  of  rare- 
wood  veneers.  A  30-year  period  be- 
ginning in  the  seventies  is  frequently 
called  the  Age  of  Satinwood. 

The  Adams  were  exponents  of 
acanthus  and  foliated  detail,  swags, 
testoons,  urns,  anthemion,  and  pat- 
erae. They  were  past  masters  in  the 
use  of  fine  detail  such  as  beads,  flutes, 
and  dentil  work.  They  drew  largely 
on  animal  and  mythological  subjects, 
rams'  heads,  lions'  heads,  and  sphinx 
being  carved  in  realistic  manner. 
Their  later  designs,  frequently  exe- 
cuted in  satinwood,  were  ornamented 
with  marquetry  and  painted  decora- 
tion. They  were  particularly  fortu- 
nate to  have  the  services  of  such 
artists  as  Pergolesi,  Zucchi,  and 
Anjelica  Kauffmann,  who  painted 
the  exquisite  panels  lending  so  much 
character  to  this  furniture. 

In  America  prior  to  the  year  1790 
there  were  few,  if  any,  professional 
architects,  so  that  our  Colonial  archi- 
tecture is  greatly  indebted  to  the 
teachings  of  the  Adam  Brothers.  A 
New  Englander,  one  Samuel  Mc- 
Intire  of  Salem,  Massachusetts,  was 
outstanding  in  his  interpretation  of 
the  Adam  stvle  as  applied  to  both 
furniture  and  architectural  treat- 
ments. 


Rosette  and  flute  carvingy  drapery  swags  with  ribbon 
184 


GEORGE      HEPPLEWHITE 

Influence  1760- 1786 


Shield  back  carved  with  shea]  of  wheal  and 
pendant  husks 


T 


"^HERE  is  a  dismaying  lack 
of  actual  knowledge  about 
George  Hepplewhite  whom 
we  regard  as  designer  and  craftsman 
extraordinary.  He  was  apprenticed 
at  the  Gillows  furniture  factory  in 
Lancaster,  date  unknown,  and  even- 
tually opened  a  business  of  his  own 
in  London.  Even  this  date  is  obscure, 
but  it  is  certain  that  he  was  influ- 
encing the  craft  in  the  early  sixties. 
The  date  of  his  death  is  placed  as 
1786.  It  was  the  posthumous  publi- 
cation of  his  "Cabinet-Maker  and 
Upholsterer's  Guide"  which  helps  us 
trace  the  history  of  this  firm,  and 
at  the  same  time  elevate  the  Hepple- 
white combine  above  the  names  of 
his  contemporaries  such  as  Sheraton, 
Gillow,  and  others.  Owing  to  the 
early  death  of  George  Hepplewhite, 
furniture  by  his  name  should  be  di- 
vided in  three  classes: 

I.  George  Hepplewhite  proper, 
1760-1786 

1.  A.  Hepplewhite  &  Co.,  1786 
onwards 

3.  The  Hepplewhite  School  as 
followers  of  the  "Guide"  de- 
signs 1 7 87- 1 800 

We  are  chiefly  concerned  in  listing 
the  accomplishments  of  the  man 
himself,  reviewing  his  aims  and  am- 
bitions, which  have  contributed  so 
much  to  the  woodworking  craft.  The 
Hepplewhite  style  was  founded  on 
lightness  and  delicacy,  and  is  transi- 


tional in  character.  That  is,  it  began 
with  the  public  taste  for  carved 
mahogany  and  eventuatctl  in  the 
various  processes  of  inlaying  and 
decoration.  Our  designer  was  first  of 
all  a  chairmaker  par  excellence.  His 
work  was  so  beautifully  conceived 
and  executed  that  it  is  rare  intleed  to 
come  across  a  poorly  designed  Hep- 
plewhite chair.  Like  Chippendale,  he 
was  influenced  by  the  French  taste, 
but  it  is  easy  to  distinguish  the  differ- 
ence in  contemporary  design.  Hepple- 
white models  range  from  three  to  five 
inches  lower,  and  tend  to  the  curvi- 
linear in  outline  of  back  and  arm. 
Later  on  Hepplewhite's  regard  for 
French  design  was  responsible  for 
an   Anglicized  Lmiis  X\'  and  XVI, 


French  canted Joot,  tudanced  skirl 

often  referred  to  as  French  Hepple- 
white. Hepplewhite  is  undoubtedly 
best  known  for  his  many  interpreta- 
tions of  the  shield-back  chair,  which 
brings  up  the  old  argument  as  to 
whether  he  or  one  of  the  Adam 
Brothers  was  responsible  for  the  de- 
sign. Little  matter,  because  the  de- 
velopment lay  in  the  capable  hands 
of  Hepplewhite.  If  the  Adams  did 
originate  the  idea,  it  was  the  master 
who  adapted  the  designs  to  practical 
use  of  cabinetmakers.  Such  delicate 
curves  cannot  be  worked  out  on  a 
draughting  board.  They  are  the 
product  ot  understanding  and  highly 

185 


skilled  hand  labor.  Distinguishing 
marks  of  the  Hepplewhite  shield- 
back  chair  are  the  gracefully  carved 
sheaf  of  wheat  and  the  "Prince  of 
Wales"  feathers.  Equally  beautiful 
is  his  rendering  of  the  oval-back  chair. 

Hepplewhite  undoubtedly  had 
much  to  do  with  the  tievelopment  of 
the  sideboard.  To  him  is  also  credited 
the  development  of  the  tambour  and 
secretaire  drawer.  Hepplewhite's  rep- 
utation fortunately  does  not  hinge 
on  the  success  of  his  large  pieces,  but 
rather  on  beautiful  small,  delicate 
tables,  commodes,  and  the  like. 
Many  a  delightful  bit  of  the  period 
in  which  he  lived  can  probably  be 
traced  to  the  influence  of  this  master 
craftsman. 

Upon  the  death  of  George  Hepple- 
white the  business  was  continued  by 
his  wife  Alice,  under  the  name  of 
A.  Hepplewhite  and  Company,  a 
commercial  success,  and  the  name  of 
Hepplewhite  percolated  to  the  ut- 
most corners  of  the  British  Isles  and 
to  America. 

The  acceptance  of  the  Hepplewhite 
style  in  America  prompted  many 
interesting  innovations  which  were 
purely  local  in  character.  The  designs 
of  the  great  master  were  adapted  for 
home  consumption  with  success  and 
distinction  to  our  native  cabinet- 
makers. 


Fluted  leg  with  stopbeads,  spade  foot 


THOMAS      SHERATON 

Influence  lygo-iSod 


T 


■^HOMAS  SHERAIXA',  the 
last  of"  the  eighteenth  century 
cabinetmaker-designers,  was  a 
native  of  Stockton-on-Tees  in  the 
north  of  Enghxnd.  Born  in  1750  or 
175 1,  he  migrated  to  London  (1780- 
1790)  to  seek  fame  and  fortune  in  the 
metropolis.  He  could  hardly  have 
selected  a  more  unt(jrtunate  time  for 
his  venture.  There  was  not  onl\'  the 


Brnkefi  top  rail 

recent  loss  ot  the  .American  Colonies, 
but  the  French  Revolution  and  the 
fight  against  the  .Aristocrats  were 
turning  the  world  upside  down. 
People  of  wealth  and  social  position 
in  England  were  none  too  sure  of 
their  own  future  and  for  a  time  were 
neither  fashion  minded  nor  interested 
in  new  furniture  styles.  How  was 
Sheraton  to  cope  with  this  situation, 
having  no  capital  and  no  workshop 
with  which  to  seek  the  patronage  of 
influential  clients?  His  idea  appar- 
ently, perhaps  born  of  desperation, 
was  to  create  a  reputation  by  writing 
books  and  by  his  teachings.  From 
the  financial  side  failure  was  inevit- 
able from  the  very  start. 

Sheraton  was  undoubtedly  a 
trained  cabinetmaker  at  one  time  in 
his  career,  but  there  is  no  evidence 
that  he  made  furniture  himself  after 
his  arrival  in  London.  Like  the  Adam 
Brothers  he  may  have  actually  taken 
orders  for  furniture  of  his  own  design 
to  be  made  by  others  under  his  per- 
sonal supervision.  For  the  purpose  of 
our  discussion,  however,  Sheraton 
was  a  furniture  designer  and  a  teacher 
of  drawing.  A  man  of  divided  ener- 
gies, he  spent  his  time  in  designing 
furniture,  teaching  pupils  perspec- 
tive drawing,  and  preaching  on  street 
corners  the  doctrines  of  the  Narrow 


Baptists.  To  these  accomplishments 
he  added  writings  on  religious  sub- 
jects. He  was  apparently  a  rather 
objectionable  person,  inclined  to  the 
severest  criticism  of  his  predecessors 
and  his  contemporaries.  All  were  out 
of  step  with  Sheraton,  and  he  railed 
against  evervbodv,  living  in  povertv 
and  without  friends.  Lender  the  cir- 
cumstances it  is  indeed  strange  that 
his  name  has  come  to  mean  so  much 
to  late  eighteenth  century  furniture 
design.  His  successes,  based  on  in- 
direct influence  with  the  trade,  were 
due  to  his  various  publications  which 
were  in  considerable  demand  with 
cabinetmakers  and  which  contained 
much  valuable  material.  Whether  he 
plagiarized  the  designs  of  Hepple- 
white,  Gibbons,  Shearer,  and  others 
is  a  matter  of  debate,  but  he  was 
the  first  to  co-ordinate  the  designs 
which  have  ever  since  been  known  bv 
his  name.  Compared  with  Hepple- 
white,  and  the  two  periods  overlap, 
Sheraton  may  be  said  to  have  ex- 
pressed the  greater  amount  of  flair 
and  originality.  In  the  first  edition  of 
his  "Cabinetmaker's  and  Uphol- 
sterer's Drawing-Book,"  published  in 
1791,  he  appealed  to  the  public  taste 
with  a  collection  of  new  designs  for 
chair  backs.  These  chairs  differed 
from  the  shield  back  of  Hepplewhite 
by  being  square  back,  with  the  back 
legs  extended  to  meet  the  top  rail. 
Some  of  the  popularity  of  these  chairs 
may  have  been  due  to  improved  con- 
struction and  cheaper  costs  in  pro- 
duction. Sheraton's  style  and  repu- 
tation as  a  designer  must  rest  on  the 
"Drawing-Book"  of  which  there  were 
three  editions,  the  last  in  1802.  His 
general  taste  was  delicate,  slender 
motives,  vertical  lines,  and  long, 
sweeping  curves.  Chairs  and  case 
pieces  were  supported  by  narrow- 
tapering  or  slender  turned  legs.  He 
advocated  the  use  of  solid  satinwood 
in  chairs,  and  his  use  of  rare  wood 
inlays  throughout  his  designs  adds 
much  to  the  charm  of  a  delicate  and 
pleasing  style. 

In  spite  of  all  the  adversity  which 
followed  this  man  through  the  sixteen 
years  of  his  London  residence,  his 
writings  were  in  real  demand.  The 
"Drawing-Book"  found  its  way  into 

186 


shops  all  over  England  where  the 
designs  were  worked  out  at  the 
bench  with  sufficient  variation  to 
meet  the  taste  of  the  countryside,- 
thus  accounting  for  the  large  out- 
put of  furniture  which  we  know  as 
"Sheraton." 

Sheraton's  "Cabinet  Dictionary" 
was  published  in  1803,  at  a  time 
when  he  was  either  converted  to  the 
English  Empire  Style  or  trying  to 
meet  the  further  demand  for  some- 
thing new.  It  added  little  or  nothing 
to  his  prestige.  .Another  book  pro- 
jected in  1806  was  never  released  in 
complete  form  owing  to  his  death  in 
October  of  the  same  year. 

Sheraton  designs  met  with  almost 
immediate  approval  in  the  L'nited 
States,  and  the  fertile  seeds  of  his 
teachings  fell  on  productive  ground. 


Turned  and  reeded      Fluted  leg  iiti,i    ■  -    - , 
/eg  rosette    and   acanthus 

leaf  carving 

Exquisite  pieces  in  this  style  were 
produced  by  such  well-known  cabi- 
netmakers as  John  Sevmour  of 
Boston,  William  Hook,  Salem,  Mas- 
sachusetts, Abner  Toppan  of  New- 
buryport,  and  many  others. 


ENGLISH      REG  K  N  C  Y 

T/iis  pniod  1 800-1 830  is  frequently  referred  to  by  collectors  as  ''Late  Georgia)" 


T 


y  If  ^HE  Regency  Style  which  de- 
veloped in  England  at  the 
beginning  of  the  nineteenth 
century  was  a  neo-classic  revival,  a 
turning  away  from  the  over-elaborate 
architectural    forms    of    the    Adam 


Brass  gallery,  turned     Tiirtieii  leg  wirl:  spiral 
leg  with  castor  carving 


Brothers  and  their  followers.  The 
urge  was  tor  simplicity  and  the  elimi- 
nation of  unnecessary  ornament;  the 
inspiration  Greek  and  Roman  an- 
tiquities. 

The  new  thought  was  sponsored  by 
such  men  as  Sir  John  Soane,  who 
built  the  Bank  of  England,  Henry 
Holland,  architect  to  the  Prince  of 
Wales,  and  John  Nash  who  at  Hol- 
land's death  took  over  the  rebuilding 
ot  Carlton  House.  Nash  also  laid  out 
Trafalgar  Square,  Regent's  Park,  and 
was  the  architect  of  Buckingham 
Palace.  The  name  of  Thomas  Hope  is 
especiallyprominent  as  anearlyadvo- 
cate  of  the  Regency  style  in  archi- 
tecture, furniture,  and  decorations, 
together  with  Sheraton  and  George 
Smith,  designers. 

In  181 1  when  George  became 
Prince  Regent,  the  prevailing  style 
(late  Georgian),  firmly  established  by 
this  time,  was  named  Regency,  a 
period  which  began  before  he  was  the 


Regent  and  lasted  until  his  death  in 
iXjo,  which  includes  the  ten  years  of 
his  life  as  King  George  IV'. 

During  the  first  ten  years  English 
Regency  went  along  step  by  step  with 
French  Directoire  (a  revolt  against 
the  overdecoration  of  Louis  X\'I  de- 
sign), but  during  the  Twenty  Years' 
War  which  followed  with  no  love  lost 
between  the  two  nations,  Regency  in 
England  developed  along  its  own  par- 
ticular lines. 

Regency  furniture  is  so  closely 
allied  to  the  interior  architecture  of 
the  Period  that  it  is  necessary  to 
study  the  one  for  a  better  under- 
standing of  the  other.  Gone  were  the 
heavy  paneling  and  mantelpieces  of 
the  Georgian  period,  as  well  as  over- 
doors  and  broken  arch  pediments.  In 
their  place  was  a  classic  interior.  In 
contrast  we  would  probably  call  it 
"streamlined"  today.  Ornament  was 
restricted  and  even  severe,  with  an 
absence  of  carving.  Cornices,  pilas- 
ters, and  mouldings  were  greatly  sim- 
plified. Plastered  walls  which  ex- 
tended from  floor  to  cornice  were 
either  painted  or  hung  with  wall- 
paper. Marble  mantels  were  the 
vogue.  Furniture  to  be  effective 
against  an  almost  austere  back- 
ground had  to  be  distinctive  and  lean 
more  or  less  to  the  spectacular.  Re- 
gency furniture  does  just  that.  There 
is  a  certain  amount  of  simplicity  of 
design,  and  considerable  charm  to  be 
found  in  the  handling  of  new  mo- 
tives, but  when  all  is  said  and  done 
this  style  of  furniture  is  rather  so- 
phisticated. This  very  sophistication 
was  what  appealed  to  the  intelli- 
gentsia of  the  time  and  no  doubt 
accounts  for  the  rev'ival  of  interest 
felt  in  England  and  in  our  own  coun- 
try today. 

The  designers  of  this  Greco-Roman 
style  were  intrigued  with  the  recent 
excavations  at  Pompeii  which  served 
as  models  for  chairs  and  tripod 
candlestands.  Sofas  were  designed 
like  Roman  beds.  Bookcases  and 
china  cabinets  followed  the  archi- 
tecture of  old  temples  or  were  orna- 
mented with  ormolu  representing 
griffins  and  classic  heads.  There  was 
a  strong  architectural  flavor  to  prac- 
tically all  furniture  at  the  beginning 

187 


of  the  century,  partly  due  to  the 
sponsors  who  were  trained  architects, 
and  also  becau.se  the  furniture  was 
mainly  inspired  by  antiquities. 

During  the  Regency  Period  there 
were  undoubtedly  thousands  of  cabi- 
net shops  in  and  about  London,  and 
many  exquisite  pieces  of  furniture 
were  made  by  these  craftsmen.  The 
selection  of  woods  ami  veneers,  for 
the  greater  part,  was  faultless,  the 
construction  excellent.  Small  tables 
of  all  kinds  were  extremely  popular. 
These  were  frequently  made  of  rose- 
wood, satinwood,  and  tulipwood, 
inlaid  with  brass  or  ebony  lines  and 
ornamented  with  brass  mounts  and 
brass  galleries.  Dining  tables  reached 
the  point  of  furthest  development 
from  the  viewpoint  of  comfort.  I'or 
the  first  time  the  pedestal  table  was 
made  in  sections  to  accommodate 
larger  gatherings.  There  were  deli- 
cately turned  chairs  with  cane  seats, 
frequently  decorated  in  black  and 
gold.  Others  had  the  Trafalgar  or 
scimitar  front  leg  (in-curved),  a  grace- 
ful innovation  which  came  with  Re- 


'     '   '  .'  ;..'.t.   ,.;  .■■;.:/.,;<.'.•,..•.'  tied  isith  ribbon 
— Duncan  Phyje 

gency.  There  were  brackets,  foot 
stools,  work  tables,  commodes,  and 
writing  desks  made  in  really  large 
quantities.  Many  have  survived  to 
be  greatly  admired  today. 

In  the  United  States  Duncan 
Phyfe  was  the  greatest  advocate  of 
Regency  design.  His  finest  work 
belongs  to  the  period  18 10  onw-ards. 
He  achieved  a  type  of  American  Re- 
gency with  beauty  of  line  and  a  dis- 
tinction unmatched  by  any  other 
-American  cabinetmaker  of  his  time. 


INDEX   ^» 

Numerical 

No. 

Page 

No. 

Page 

A^. 

Page 

13 

12 

Birchall  Console 

103 

132 

Eeighton  Dining 

260 

81 

Jackson  Commode 

13 

40 

Birchall  Console 

Table 

261 

113 

Haviland  Breakfront 

16 

149 

Kinross  Mirror 

104 

133 

Marlboro  Console 

Bookcase 

17 

13 

Elliot  Card  Table 

106 

122 

Crosby  Dining  Table 

267 

59 

Chilton  Coffee 

20 

14 

Dorothea  Henrv 

114 

139 

Colton  Serving  Table 

Table 

Table 

118 

83 

Hastings    Chest     of 

270 

24 

Gerald  Arm  Chair 

22 

17 

Montague  Table 

Drawers 

272 

140 

Bristol  Serving  Table 

36 

25 

Dalton  Wing  Chair 

121 

151 

Mayfair  High  Chest 

274 

68 

Fielding  Sofa 

40 

42 

Emery  W  ing  Chair 

123 

149 

Macomber  Chest  of 

286 

78 

Leverett  Commode 

42 

39 

Wellesley  Arm  Chair 

Drawers 

288 

57 

Bedford  Coffee  Table 

46 

49 

Plymouth  Arm  Chair 

125 

152 

Baxter  Bed 

294 

48 

Sutton  Arm  Chair 

49 

20 

Parham  Table 

127 

150 

Glencoe  Powder 

298 

102 

Gateswell   Secretary 

55 

52 

Crossley  Sofa 

Table 

304 

40 

Chatham  Arm  Chair 

55 

66 

Crossley  Sofa 

128 

144 

Paxton  Dressing 

308 

97 

Manchester  Writing 

61 

79 

Burnham  Commode 

Stool 

Desk 

64 

124 

Halsey  Arm  Chair 

128 

15U 

Paxton  Dressing 

317 

74 

Douglas  Card  Table 

64 

124 

Halsey  Side  Chair 

Stool 

358 

134 

Blaisdell  Side  Chair 

64 

136 

Halsey  Arm  Chair 

128 

164 

Paxton  Dressing 

359 

128 

Draper  Arm  Chair 

64 

136 

Halsey  Side  Chair 

Stool 

359 

128 

Draper  Side  Chair 

68 

93 

Buckingham     Writ- 

134 

143 

Seeler  Chest  of 

359 

134 

Draper  Arm  Chair 

ing  Desk 

Drawers 

359 

134 

Draper  Side  Chair 

69 

74 

Wallace  Chairs 

151 

162 

Berkshire  Bed 

359 

145 

Draper  Side  Chair 

69 

93 

Wallace  Arm  Chair 

152 

165 

Bardwell     Chest-on- 

361 

27 

Dutton  Wing  Chair 

69 

135 

Wallace  Arm  Chair 

Chest 

363 

37 

Joyce  Arm  Chair 

69 

135 

Wallace  Side  Chair 

153 

163 

Barrett  Chest  of 

367 

58 

Raddison     Nest     of 

71 

132 

Kenwood  Arm  Chair 

Drawers 

Tables 

71 

132 

Kenwood  Side  Chair 

163 

164 

Davidson  Powder 

375 

51 

Lansford  Table 

71 

135 

Kenwood  Arm  Chair 

Table 

379 

114 

Beacham  Bookcase 

71 

135 

Kenwood  Side  Chair 

164 

153 

Miller  Bed 

380 

60 

Gleason  Coffee  Table 

74 

100 

Andover  Secretary 

176 

36 

Bamford  Table 

385 

21 

Staniford  Table 

75 

97 

Holbeck  Arm  Chair 

184 

145 

Seldon  High  Chest 

387 

33 

Burnsdale  Library 

75 

100 

Holbeck  Arm  Chair 

185 

144 

Radcliffe  Dressing 

Steps 

75 

162 

Holbeck  Side  Chair 

Table 

387 

41 

Burnsdale  Library 

75 

165 

Holbeck  Arm  Chair 

190 

19 

Sandleigh  Table 

Steps 

76 

101 

Hingham  Secretary 

194 

22 

Ames  Table 

387 

63 

Burnsdale  Library 

84 

33 

Applegate  Desk 

199 

148 

McKean  Bed 

Steps 

84 

99 

Applegate  Desk 

204 

69 

Faneuil  Sofa 

389 

44 

Trowbridge  Wing 

85 

106 

Berkeley  Bookcase 

235 

38 

Kingsley  Arm  Chair 

Chair 

86 

110 

Deansgate  Break- 

238 

137 

Andrews  Arm  Chair 

404 

92 

Beauport  Writing 

front  Bookcase 

240 

23 

Rawson  Arm  Chair 

Desk 

91 

115 

Warwick  Breakfront 

243 

19 

Rogers  Love  Seat 

417 

35 

Rockwell  Table 

Bookcase 

243 

59 

Rogers  Love  Seat 

417 

65 

Rockwell  Table 

93 

121 

Stamford  Corner 

244 

36 

Gardner  Arm  Chair 

419 

130 

Sawyer  Side  Chair 

Cabinet 

251 

107 

Compton  Bookcase 

419 

136 

Sawyer  Side  Chair 

96 

120 

Chestershire    Dining 

253 

50 

Burgess  Table 

427 

23 

Monroe  Table 

Table 

254 

52 

Codman  Table 

431 

127 

Rumford  Commode 

98 

118 

Clayton  Dining 

255 

63 

Brimmer  Coffee 

434 

43 

Forbes  Arm  Chair 

Table 

Table 

439 

137 

Braemore  Side  Chair 

99 

129 

Southmead  Side- 

255 

67 

Brimmer  Coffee 

439 

166 

Braemore  Side  Chair 

board 

Table 

440 

77 

Claymore  Side  Chair 

INDEX 

Numerical 

A'o. 

I'age 

No. 

Page 

No. 

Page 

440 

137 

Claymore  Side  Chair 

636L  117 

Waltham  Bookcase 

752 

71 

Fayette  Sofa 

449 

108 

Johnsbury  Boolccase 

644 

62 

Ralston  Coffee  Table 

753 

168 

Hancock  1  ligh])oy 

451 

126 

Lester  Dining  Table 

647 

32 

Dunmorc  Chest 

754 

125 

Hanover  Breakfront 

453 

55 

Granada  Table 

647 

85 

Dunmore  Chest 

Commode 

454 

53 

Edwards  Table 

649 

94 

Northcliffe    Writing 

757 

119 

Westbourne  Cabinet 

458 

80 

Belgrave  Commode 

Desk 

758 

146 

Leeds  Chest  of 

459 

104 

Vaiighan  China 

651 

56 

Aberdeen  Coffee 

Drawers 

Cabinet 

Table 

759 

91 

Devon  Commode 

459 

126 

Vaughan  China 
Cabinet 

653 

130 

Conning  Dining 
Table 

760 

147 

Shrewsbury  High 
Chest 

466 

92 

Farrell  Side  Chair 

655 

131 

Larchmont  Side- 

762 

105 

Kensington    Cabinet 

469 

61 

Owens  Coffee  Table 

board 

763 

82 

Nottingham  Com- 

472 

53 

Barnard  Sofa 

658 

111 

Algonquin  Bookcase 

mode 

474 

95 

Briggs  Arm  Chair 

664 

171 

Devereaux  Chest  of 

764 

160 

Needham  Table 

490 

67 

Pearsall  Sofa 

Drawers 

765 

84 

Shawmut  Chest 

498 

62 

Jerome  Sofa 

665 

170 

Wheelock  High 

766 

45 

Oxford  Table 

500 

155 

Bradbury    Chest    of 

Chest 

767 

29 

Sheffield  Table 

Drawers 

666 

172 

Devereaux  Chest- 

768 

26 

Minot  Revolving 

501 

157 

Bradbury  Chiffonier 

on-Chest 

Table 

502 

156 

Bradbury  Dressing 

667 

166 

Grosvenor  Bed 

769 

112 

Holden  Breakfront 

Table 

679 

90 

Rolf  Commode 

Bookcase 

503 

154 

Bradbury  Bed 

681 

89 

Hollingsworth  Com- 

770 

96 

Fessenden  Desk 

504 

154 

Bradbury  Table 

mode 

771 

142 

Strathmore  Bed 

505 

155 

Bradbury  Mirror 

682 

54 

Evans  Table 

771 

160 

Strathmore  Bed 

506 

156 

Bradbury  Mirror 

720 

167 

Wimpole  Chest  of 

772 

124 

Buckminster  Dining 

589 

76 

Newmarket  Table 

Drawers 

Table 

589 

77 

Newmarket  Table 

721 

16 

Edgewood  Table 

773 

64 

Wendell  Coffee  Table 

596 

88 

Cornwall  Commode 

722 

123 

Clifton  Commode 

774 

68 

Crawford  Table 

597 

47 

Burbank  Arm  Chair 

723 

98 

Savory  Desk 

775 

138 

Bradford  Serving 

597 

99 

Burbank  Arm  Chair 

725 

116 

Eldredge  Dining 

Table 

598 

46 

Dawson  Arm  Chair 

Table 

776 

64 

Addington  Love  Seat 

605 

63 

Franklin  Love  Seat 

728 

26 

Lowell  N\'ing  Chair 

777 

34 

Bennington  Table 

620 

86 

Sumner  Chest  of 

729 

31 

Newton  Wing  Chair 

778 

142 

Colbourne  Table 

Drawers 

730 

22 

Kirkland  Wing  Chair 

779 

142 

Pea body  Book 

621 

87 

Dwinell  Chest  of 

731 

32 

Longwood  Side  Chair 

Basket 

Drawers 

732 

169 

Arlington   Chest-on- 

780 

103 

Middlesex  Commode 

623 

44 

Conrad  Nest  of 

Chest 

781 

103 

Verndale  Shelves 

Tables 

734 

33 

Prescott  Club  Chair 

784 

70 

Acres  Sofa 

625 

158 

Portsmouth  Bed 

736 

35 

Putnam  Arm  Chair 

788 

75 

Suffolk  Game  Table 

625 

158 

Portsmouth  Table 

737 

30 

Crabtree  Wing  Chair 

789 

72 

Mountfort  Sofa 

627 

128 

Gregory  Dining 

738 

65 

Choate  Sofa 

790 

73 

Newhall  Sofa 

Table 

739 

41 

Norfolk  Arm  Chair 

797 

18 

Buswell  Table 

628 

159 

Connecticut  Chest  of 

740 

28 

Colby  Wing  Chair 

1003 

30 

Cooper  Dumb  Waiter 

Drawers 

744 

34 

Pemberton  Arm 

1003 

48 

Cooper  DumbW  alter 

628 

161 

Connecticut  High 

Chair 

1004 

15 

Stephens  Card  Table 

Chest 

749 

75 

Valentine  Side  Chair 

1017 

134 

Gibbes  Side  Chair 

633 

95 

Kilby  Desk 

750 

45 

Madison  Wing  Chair 

189 


INDEX  m 

Alphabetical 


No.       Page 

651       56 


784 
776 
658 
194 

74 

2.VS 

84 

84 


176 
152 

472 
153 

125 
379 
404 

288 

458 

777 

85 

151 

13 

13 

358 

503 

500 

501 
502 

505 
506 

504 

775 

439 
439 
474 

255 


70 

64 

111 

22 
100 
137 

99 


732     169 


36 
165 

53 
163 

152 

114 

92 

57 

80 

34 

106 

162 

12 

40 

134 

154 

155 

157 
156 

155 
156 
154 
138 

137 

166 

95 

63 


255       67 


Aberdeen  Coffee 

Table 
Acres  Sofa 
Adtiington  Love  Seat 
Algonquin  Bookcase 
Ames  Table 
Andover  Secretary 
Andrews  Arm  Chair 
Applegate  Desk 
Applegate  Writing 

Desk 
Arlington    Chest-on- 

Chest 

Bamford  Table 
Bardwell     Chest-on- 

Chest 
Barnard  Sofa 
Barrett  Chest  of 

Drawers 
Baxter  Bed 
Beacham  Bookcase 
Beauport  Writing 

Desk 
Bedforci  Coffee  Table 
Belgrave  Commode 
Bennington  Table 
Berkeley  Bookcase 
Berkshire  Bed 
Birchall  Console 
Birchall  Console 
Blaisdell  Side  Chair 
Bradbury  Bed 
Bradbury    Chest    of 

Drawers 
Bradbury  Chiffonier 
Bradbury  Dressing 

Table ' 
Bradbury  Mirror 
Bradbury  Mirror 
Bradbury  Table 
Bradford  Serving 

Table 
Braemore  Side  Chair 
Braemore  Side  Chair 
Briggs  Arm  Chair 
Brimmer  Coffee 

Table 
Brimmer  Coffee 

Table 


304 

40 

96 

120 

267 

59 

738 

65 

440 

77 

440 

137 

98 

118 

722 

123 

254 

52 

778 

142 

740 

28 

114 

139 

251 

107 

628 

159 

No.      Page  No.     Page 

in     140     Bristol  ServingTable        163     164 
68       93     Buckingham  Writ-  598       46 

ing  Desk  86     110 

772      124     liuckminster  Dining 

Table  664     171 

597       47     Burbank  Arm  Chair 
597       99     Burbank  Arm  Chair       666     172 
253       50     Burgess  Table 

61       79     Burnham  Commode         759       91 
387       ?,i     Burnsdale  Library  20       14 

Steps 

387       41      Burnsdale  Library  317       74 

Steps  359     128 

387       63     Burnsdale  Library  359     128 

Steps  359     134 

797       18     Buswell  Table  359     134 

359     145 
Chatham  Arm  Chair       647       32 
Chestershire    Dining        647       85 
Table  ^   !     361       27 

Chilton  Coffee  Table        621       87 
Choate  Sofa 
Claymore  Side  Chair 
Claymore  Side  Chair        721        16 
Clavton  Dining  454       53 

Table  725     116 

Clifton  Commode 
Codman  Table  17        13 

Colbourne  Table  i       40       42 

Colby  Wing  Chair  682       54 

Colton  ServingTable 
Compton  Bookcase 
Connecticut  Chest  of 
Drawers 
628     161     Connecticut  High 

Chest 
653     130     Conning  Dining 

Table 
623       44     Conrad  Nest  of 
Tables 
Cooper  Dumb  Waiter 
Cooper  Dumb  Waiter 
Cornwall  Commode 
Crabtree  Wing  Chair 
Crawford  Table 
Crosby  Dining  Table 
Crossley  Sofa 
Crossley  Sofa 

36       IS     Dalton  Wing  Chair      '     667     166 


1003 

30 

1003 

48 

596 

88 

737 

30 

774 

68 

106 

122 

55 

52 

55 

66 

204 

69 

466 

92 

752 

71 

770 

96 

274 

68 

434 

43 

605 

63 

244 

36 

298 

102 

270 

24 

1017 

134 

380 

60 

127 

150 

453 

55 

627 

128 

Davidson  Table 
Dawson  Arm  Chair 
Deansgate  Break- 
front  liookcase 
Devereaux  Chest  of 

Drawers 
Devereux   Chest-on- 

Chest 
Devon  Commode 
Dorothea  Henry 

Table 
Douglas  Card  Table 
Draper  Arm  Chair 
Draper  Side  Chair 
Draper  Arm  Chair 
Draper  Side   Chair 
Draper  Side  Chair 
Dunmore  Chest 
Dunmore  Chest 
Dutton  Wing  Chair 
Dwinell    Chest    of 
Drawers 

F.dgewood  Table 
Edwards  Table 
Eldredge  Dining 

Table 
Elliot  Card  Table 
Emery  Wing  Chair 
Evans  Table 

Faneuil  Sofa 
Farrell  Side  Chair 
Fayette  Sofa 
Fessenden  Desk 
Fielding  Sofa 
Forbes  Arm  Chair 
Franklin  Love  Seat 

Gardner  Arm  Chair 
Gateswell  Secretary 
Gerald  Arm  Chair 
Gibbes  Side  Chair 
Gleason  Coffee  Table 
Glencoe  Powder 

Table 
Granada  Table 
Gregory  Dining 

Table 
Grosvenor  Bed 


190 


INDEX 

Alphabetical 

No. 

P"X>' 

No. 

Pa^e 

No. 

Pa^e 

64 

124 

Halsey  Arm  Chair 

30S 

97 

Manchester  Desk 

679 

90 

Rolf  Commode 

64 

124 

Halsey  Side  Chair 

104 

133 

Marlboro  Console 

431 

127 

Rumford  Commode     j 

64 

136 

Haisey  Arm  Chair 

121 

151 

Mayfair  High  Chest 

64 

136 

Halsey  Side  Chair 

199 

148 

Mckean  Bed 

190 

19 

Sandleigh  Table 

753 

168 

Hancock  Highboy 

780 

103 

Middlesex  Commode 

723 

98 

Savory  Desk 

754 

125 

Hanover  Breakfront 

164 

153 

Miller  Bed 

419 

130 

Sawyer  Siile  Chair 

Commode 

768 

26 

Minot  Revolving 

419 

136 

Sawyer  Side  Chair 

118 

83 

Hastings  Chest  of 

Table 

134 

143 

Seeler  Chest  ot 

Drawers 

427 

23 

Monroe  Table 

Drawers 

261 

113 

Haviland  Breakfront 

22 

17 

Montague  Table 

184 

145 

Seldon  High  Chest 

Bookcase 

789 

72 

Mountfort  Sofa 

765 

84 

Shawmut  Chest 

76 

101 

Hingham  Secretary 

767 

29 

Sheffield  Table 

75 

97 

Holbeck  Arm  Chair 

764 

160 

Needham  Table 

760 

147 

Shrewsbury  High 

75 

100 

Holbeck  Arm  Chair 

790 

73 

Newhall  Sofa 

Chest 

75 

162 

Holbeck  Side  Chair 

589 

76 

Newmarket  Table 

99 

129 

Southmead  Side- 

75 

165 

Holbeck  Arm  Chair 

589 

77 

Newmarket  Table 

board 

769 

112 

Holden  Breakfront 

729 

31 

Newton  Wing  Chair 

93 

121 

Stamford  Corner 

Bookcase 

739 

41 

Norfolk  Arm  Chair 

Cabinet 

681 

89 

HoUingsworth  Com- 

649 

94 

Northclifte  Desk 

385 

21 

Staniford  Table 

mode 

763 

82 

Nottingham  Com- 
mode 

1004 
771 

15 
142 

Stephens  Card  Table 
Strathmore  Bed 

260 

81 

Jackson  Commode 

771 

160 

Strathmore  Bed 

4')8 

62 

Jerome  Sofa 

469 

61 

Owens  Coffee  Table 

788 

75 

Suffolk  Game  Table 

449 

108 

Johnsbury  Bookcase 

766 

45 

Oxford  Table 

620 

86 

Sumner  Chest  of 

363 

37 

Joyce  Arm  Chair 

Drawers 

49 

20 

Path  am  Table 

294 

48 

Sutton  Arm  Chair 

762 

105 

Kensington   Cabinet 

128 

144 

Paxton  Dressing 

71 

132 

Kenwood  Arm  Chair 

Stool 

389 

44 

Trowbridge  Wing 

71 

132 

Kenwood  Side  Chair 

128 

150 

Paxton  Stool 

Chair 

71 

135 

Kenwood  Arm  Chair 

128 

164 

Paxton  Stool 

71 

135 

Kenwood  Side  Chair 

779 

142 

Peabody  Book 

749 

75 

X'alentine  Side  Chair 

633 

95 

Kilby  Desk 

Basket 

459 

104 

\'aughan  China 

235 

38 

Kingsley  Arm  Chair 

490 

67 

Pearsall  Sofa 

Cabinet 

16 

149 

Kinross  Mirror 

744 

34 

Pemberton  Arm 

459 

126 

\'aiighan  China 

730 

22 

Kirkland  Wing  Chair 

Chair 

Cabinet 

46 

49 

Plymouth  Arm  Chair 

781 

103 

\"erndale  Shelves 

375 

51 

Lansford  Table 

625 

158 

Portsmouth  Bed 

655 

131 

Larchmont  Side- 

625 

158 

Portsmouth  Table 

69 

74 

Wallace  Chairs 

board 

734 

7,7< 

Prescott  Club  Chair 

69 

93 

Wallace  Arm  Chair 

758 

146 

Leeds  Chest  of 
Drawers 

736 

35 

Putnam  Arm  Chair 

69 
69 

135 
135 

^^'allace  Arm  Chair 
Wallace  Side  Chair 

103 

132 

Leighton  Dining 

185 

144 

Kadcliffe  Dressing 

636L  117 

Waltham  Bookcase 

fable 

Table 

91 

115 

Warwick  Breakfront 

451 

126 

Lester  Dining  Table 

367 

58 

Raddison  Nest  of 

Bookcase 

286 

78 

Leverett  Commode 

Tables 

42 

39 

Wellesiev  Arm  Chair 

731 

32 

Longwood  Side  Chair 

644 

62 

Ralston  Coffee  Table 

773 

64 

Wendell'Table 

728 

26 

Lowell  Wing  Chair 

240 

23 

Rawson  Arm  Chair 

757 

119 

Westbourne  Cabinet 

417 

35 

Rockwell  Table 

665 

170 

Wheelock  High 

123 

149 

Macomber  Chest  of 

417 

65 

Rockwell  Table 

Chest 

Drawers 

243 

19 

Rogers  Love  Seat 

720 

167 

Wimpole    Chest    of 

75(1 

45 

Madison  Wing  Chair 

243 

59 

Rogers  Love  Seat 

Drawers 

Designed  &•  Printed 

under  the  direction  of  Edgar  B.  Sherrill 

at  the 

UNIVERSITY    PRESS 

CAM  BRIDGE,  MASSACHUSETTS 


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BEACON  ST. 

2  TtarrisoH  (irey  Otis 

3  "David  Sears 

4  Jofcw  ThilUp* 

5  3«H/<(iniH  3/om«r 

6  Dr.  John  Joy 

7  Jofcn  JIa-ncoek, 

8  $f atr  ^oiwf 

BELKNAP  ST. 

1  ^bo/tf  iott  Church 

2  Wm.  Lancaster 

BOWDOIN  SO.. 

1  Samuel'Peir\wan 

2  Kfvere  Tlouse 

3  Christopher  Qore 

4  Tf<f r  CljandUy 

5  (^ftar/rc  Bulfinch 

CAMBRIDGE  ST. 

1  Tark»>an  Market 

2  "Jimrriton  Qreif  Otit 

3  West  Church 

4  Joseph  CooUdge 

CHARLES    6T. 
1  Church 
Z  Abnerltouse 

CHESTNUT  ST. 

1  Lincoln  &  Stoddard 

2  "Btnjamin  Joy 

3  Hichavd  €■  Derbtf 

4  Jeremiah  (iafdner 

5  Jicpzibah  Swan 

6  Charlts  Taine 


MYRTLE  ST. 

1  Wmdiomer 

OLIVE  ST. 

1  T)avidJ{uniphreifS 

2  Stephen'J{igjinson,Ir. 

3  Moics  (Irani 

4  "Jiarriton  Qtaif  Otis 

5  Jonaiha^  Mmok 

6  John  Callender 

7  Stephen  Dligginsonjr. 

8  Thomas  Tcrfons 

9  Jeremiah  (iardner 

PARK  ST. 

1  Thomas  Amorg 

2  Josiah  Qtiincy 

3  Tark  Si.  Church 

PINCKNEY  ST. 

1  Toivder  Oiouse 

2  WaichJiouse 

3  Middleion  &  (iUpion 

S- RUSSELL  ST. 
1  Joseph  "Ditton 

TEMPLE  ST. 
1  "Bela  Clapp 

TREMONT  ST. 
1  Tremottt  Jlouse 
1  Teicr  Taneuil 

WALNUT  ST. 
1  Uriah  CoHing 

LOUISBURG  SCL. 
1  Jennij  Und  married 


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